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20220630 Culture 3

2022-07-06T06:41:17Z

Li Yijia: /* Metaphors */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.(Yin Xue, 2012)

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.(Zhou Huanmei, 2011)
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

===Reasons and how to fix===
Reasons
(A) the historical roots
In this era of social-economic production capacity in the hands of women, when women held the dominant position in society, the history of women in matriarchal societies was illustrious. During the age of patriarchal society, however, economic production capacity increasingly came to be dominated by men, and women's status, in general, declined, placing them in a subordinate position. In a culture dominated by white men, the English language is sexist, excluding and degrading women. Chinese society is profoundly influenced by the feudal patriarchal structure and feudal moral ideals, which have transformed the interaction between men and women into a master-servant relationship characterised by pecking. In the history of both the east and west, great deeds are attributed to men, while women are responsible for the death, indicating that the concept of roles has been deeply ingrained in the evolution of human society.

(B) the cultural roots
As the expression of people's thoughts and ideas, language will reflect the social culture and ideas of a particular time period. In western culture, the Bible has a significant impact on people's thoughts. Eve was derived from Adam's rib, according to the Bible, and the theory that God created man became the basis for the theory of the origin of language, thereby establishing the preeminent position of men from the beginning and relegating women to a subordinate and submissive position. China's culture is primarily inspired by Confucianism, and the idea of male dominance and female inferiority have been documented in history since Spring and Autumn Warring States Period. The founder of Confucianism, Confucius, once stated, "Only ladies and villains are difficult to raise." There were three thousand disciples and seventy-two sages, but no female disciples. Long-term, the ancient Chinese government encouraged women to adhere to the "three obedience and four virtues." In accordance with the principles of "internal and external differences" and "the idea of male superiority and female inferiority," the Confucian ethical code mandates that women's morality, behaviour, and cultivation be standardised. Insisting that women should be subservient to males, that they should serve men, not for their own position and resistance. The concepts of the world's three major religions, also reflect the disparaging and exclusive nature of their content against women. Consequently, the assumption of male dominance in human history and culture has contributed to the creation of sexist language in both China and Western nations. As co-founders of historical civilisation, men and women should have equal social standing.

(C) the social roots
The traditional social division of labour places a disproportionate number of males in high-status occupations in comparison to the number of women, which results in a diminished significance of one's place of employment. On the other hand, women have stronger social connections in the context of the household and caregiving. Because women have a natural tendency to attach themselves to men, men have the potential to benefit from their careers, properties, and other advantages to achieve a greater standing in their families and in society. When women are relegated to a subordinate position in their families and in society as a whole, the only means by which they can compensate are by other means, such as the elegance of their behaviour, the use of linguistic norms, etc. Because of this circumstance, the way language is mirrored can be rather different. (Zhao Yiran,2020,62-63)

Due to the influence of social and cultural forces, the concept of women as "servants" to men has become deeply ingrained, resulting in a distinct social psychology. Someone will frequently ask a woman at a party in the United Kingdom, "What does your husband do?" But nobody will ever ask a male, "What does your wife do?" If anyone dared to ask him such questions, he would respond, " She's my wife!" This demonstrates that there is no need to inquire about the status of women, a prevalent male mentality. Women like to employ ambiguous language and rhetorical questions because, even if they have more opportunities to attain the upper echelons of society today, they psychologically permit men to rule.

Due to historical and cultural factors, gender discrimination persists in the vast majority of languages. People are progressively becoming aware of the significance of women's standing and their indispensable role as social civilization advances. In today's society, despite the fact that women's social status in all aspects has been greatly improved, especially the economic status has improved, language, and gender discrimination have also improved accordingly. However, to eliminate the real sense of language, and gender discrimination, It is impossible to eliminate this phenomenon only through language reform. It will be a difficult and long process to fundamentally change the idea that men are superior to women.

how to fix it

The advancement of civilization, the rise in the general level of living, and the growth of society all contribute to an overall rise in the social standing of women, which is expected to continue rising. Researchers who study linguistic sexism argue that language is also sexist in the form of "derogatory" words for women and "complimentary" words for men. This has led to the launch of a campaign to eliminate discrimination in countries where English is the primary language. It is of the utmost importance to eradicate sexism and racism from the English language. The primary objectives are to enhance discrimination in the English language and to enhance the habit of using language that is more appropriate for everyday use. While referring to other people, always use neutral phrases; never use male terminology or complex words when talking about women. Specifically, the job title should be composed of female language, and there shouldn't be any extra affixes to indicate what they're supposed to mean. When it comes to making a distinction between the sexes, the majority of individuals will refer to females with the pronoun "he" rather than "she" in certain circumstances. Additionally, avoid using phrases that are derogatory to women, and steer clear of including old stereotypes in what you say. The relationship between society and language is quite close. The status of women in a language tends to rise in tandem with their rise in social standing. Get rid of the misogyny that comes from using third-person pronouns.

The phenomena of sexism in language, with the goal of producing a more conducive environment for the experience of language by women. In the United States, feminist linguists such as Mary Ritchie Key have proposed a "non-gender language" that advocates women's independent and equal social roles. The non-gender language's most significant and obvious manifestation is the neutral transformation of the meaning of female bias words. Other manifestations of the non-gender language include the promotion of women's economic independence. Linguists that adhere to the feminist perspective feel that there should be a gender-aware approach to the use of generic terminology. The generic usage of masculine terms is converted to neutral words, and the words that are tied to the original masculine words in the form of suffixes are altered into a structure that does not have a bias toward males. Such as "-er," "-or," "-ist," or "person generation" for the original "first-ess and-ette"; for example, "fireman" and "firefighter" and "suffragette" and "suffragist." Certain jobs do not discriminate on the basis of gender and avoid defining occupations or responsibilities using terms that are specific to either gender. For example, the position of "Lady Lawyer" has been replaced by the more objective and gender-neutral term "Lawyer," and "Man-Sized jobs" have been replaced by the term "Big Jobs" or "Heavy Work." Expressions of women that are negative or sarcastic should be avoided, as should language that expresses stereotypical or formulaic roles and behaviours of women. In addition, negative or sarcastic expressions of women should not be used.
To truly achieve liberation, women must also be willing to fight for it themselves. When compared to the impact that society has on language, the rate at which language reflects society is far slower.
People urge for a society that is gender-neutral, but so long as there is discrimination and bias in language, it will be a barrier to the progression and development of society. As a result, we ought to give this issue our full attention and comprehend the gravity of the situation. It is only under the presumption of societal reform and linguistic equality that we will be able to completely eradicate social discrimination, eradicate language discrimination, and realise true equality between men and women. Over the course of the last century, women have made significant progress toward attaining the same rights as men. They venture out into the world and perform tasks that were traditionally reserved for males, and their contributions to society are on par with those made by men.
===References===
Bai Jiehong 白解红(2000). 性别语言文化与语用研究[Male/Female Language, Culture and Pragmatics].湖南教育出版社Hunan Education Publishing House, 20.

Wang Xiuying王秀英(2016).浅谈英汉语言中的性别歧视现象及其产生的根源[On sexism in English and Chinese and its causes].甘肃高师学报GANSU GAOSHI XUEBAO, 34-35.

Zhou Huanmei 周欢梅(2011).隐喻视角下的英汉语言性别歧视研究[A study of gender discrimination in English and Chinese languages from the perspective of metaphor].西北大学Northwest University, 14-15.

Yin Xue尹雪(2012)汉语词汇中的性别歧视研究[A study of sexism in Chinese vocabulary].黑龙江大学Heilongjiang University, 26-27.

Zhao Yiran赵羿然(2020).英汉语言中性别歧视的成因分析[An analysis of the causes of sexism in English and Chinese].现代交际Modern Communication, 62-63.

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==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 3

2022-07-06T06:40:30Z

Li Yijia: /* References */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

===Reasons and how to fix===
Reasons
(A) the historical roots
In this era of social-economic production capacity in the hands of women, when women held the dominant position in society, the history of women in matriarchal societies was illustrious. During the age of patriarchal society, however, economic production capacity increasingly came to be dominated by men, and women's status, in general, declined, placing them in a subordinate position. In a culture dominated by white men, the English language is sexist, excluding and degrading women. Chinese society is profoundly influenced by the feudal patriarchal structure and feudal moral ideals, which have transformed the interaction between men and women into a master-servant relationship characterised by pecking. In the history of both the east and west, great deeds are attributed to men, while women are responsible for the death, indicating that the concept of roles has been deeply ingrained in the evolution of human society.

(B) the cultural roots
As the expression of people's thoughts and ideas, language will reflect the social culture and ideas of a particular time period. In western culture, the Bible has a significant impact on people's thoughts. Eve was derived from Adam's rib, according to the Bible, and the theory that God created man became the basis for the theory of the origin of language, thereby establishing the preeminent position of men from the beginning and relegating women to a subordinate and submissive position. China's culture is primarily inspired by Confucianism, and the idea of male dominance and female inferiority have been documented in history since Spring and Autumn Warring States Period. The founder of Confucianism, Confucius, once stated, "Only ladies and villains are difficult to raise." There were three thousand disciples and seventy-two sages, but no female disciples. Long-term, the ancient Chinese government encouraged women to adhere to the "three obedience and four virtues." In accordance with the principles of "internal and external differences" and "the idea of male superiority and female inferiority," the Confucian ethical code mandates that women's morality, behaviour, and cultivation be standardised. Insisting that women should be subservient to males, that they should serve men, not for their own position and resistance. The concepts of the world's three major religions, also reflect the disparaging and exclusive nature of their content against women. Consequently, the assumption of male dominance in human history and culture has contributed to the creation of sexist language in both China and Western nations. As co-founders of historical civilisation, men and women should have equal social standing.

(C) the social roots
The traditional social division of labour places a disproportionate number of males in high-status occupations in comparison to the number of women, which results in a diminished significance of one's place of employment. On the other hand, women have stronger social connections in the context of the household and caregiving. Because women have a natural tendency to attach themselves to men, men have the potential to benefit from their careers, properties, and other advantages to achieve a greater standing in their families and in society. When women are relegated to a subordinate position in their families and in society as a whole, the only means by which they can compensate are by other means, such as the elegance of their behaviour, the use of linguistic norms, etc. Because of this circumstance, the way language is mirrored can be rather different. (Zhao Yiran,2020,62-63)

Due to the influence of social and cultural forces, the concept of women as "servants" to men has become deeply ingrained, resulting in a distinct social psychology. Someone will frequently ask a woman at a party in the United Kingdom, "What does your husband do?" But nobody will ever ask a male, "What does your wife do?" If anyone dared to ask him such questions, he would respond, " She's my wife!" This demonstrates that there is no need to inquire about the status of women, a prevalent male mentality. Women like to employ ambiguous language and rhetorical questions because, even if they have more opportunities to attain the upper echelons of society today, they psychologically permit men to rule.

Due to historical and cultural factors, gender discrimination persists in the vast majority of languages. People are progressively becoming aware of the significance of women's standing and their indispensable role as social civilization advances. In today's society, despite the fact that women's social status in all aspects has been greatly improved, especially the economic status has improved, language, and gender discrimination have also improved accordingly. However, to eliminate the real sense of language, and gender discrimination, It is impossible to eliminate this phenomenon only through language reform. It will be a difficult and long process to fundamentally change the idea that men are superior to women.

how to fix it

The advancement of civilization, the rise in the general level of living, and the growth of society all contribute to an overall rise in the social standing of women, which is expected to continue rising. Researchers who study linguistic sexism argue that language is also sexist in the form of "derogatory" words for women and "complimentary" words for men. This has led to the launch of a campaign to eliminate discrimination in countries where English is the primary language. It is of the utmost importance to eradicate sexism and racism from the English language. The primary objectives are to enhance discrimination in the English language and to enhance the habit of using language that is more appropriate for everyday use. While referring to other people, always use neutral phrases; never use male terminology or complex words when talking about women. Specifically, the job title should be composed of female language, and there shouldn't be any extra affixes to indicate what they're supposed to mean. When it comes to making a distinction between the sexes, the majority of individuals will refer to females with the pronoun "he" rather than "she" in certain circumstances. Additionally, avoid using phrases that are derogatory to women, and steer clear of including old stereotypes in what you say. The relationship between society and language is quite close. The status of women in a language tends to rise in tandem with their rise in social standing. Get rid of the misogyny that comes from using third-person pronouns.

The phenomena of sexism in language, with the goal of producing a more conducive environment for the experience of language by women. In the United States, feminist linguists such as Mary Ritchie Key have proposed a "non-gender language" that advocates women's independent and equal social roles. The non-gender language's most significant and obvious manifestation is the neutral transformation of the meaning of female bias words. Other manifestations of the non-gender language include the promotion of women's economic independence. Linguists that adhere to the feminist perspective feel that there should be a gender-aware approach to the use of generic terminology. The generic usage of masculine terms is converted to neutral words, and the words that are tied to the original masculine words in the form of suffixes are altered into a structure that does not have a bias toward males. Such as "-er," "-or," "-ist," or "person generation" for the original "first-ess and-ette"; for example, "fireman" and "firefighter" and "suffragette" and "suffragist." Certain jobs do not discriminate on the basis of gender and avoid defining occupations or responsibilities using terms that are specific to either gender. For example, the position of "Lady Lawyer" has been replaced by the more objective and gender-neutral term "Lawyer," and "Man-Sized jobs" have been replaced by the term "Big Jobs" or "Heavy Work." Expressions of women that are negative or sarcastic should be avoided, as should language that expresses stereotypical or formulaic roles and behaviours of women. In addition, negative or sarcastic expressions of women should not be used.
To truly achieve liberation, women must also be willing to fight for it themselves. When compared to the impact that society has on language, the rate at which language reflects society is far slower.
People urge for a society that is gender-neutral, but so long as there is discrimination and bias in language, it will be a barrier to the progression and development of society. As a result, we ought to give this issue our full attention and comprehend the gravity of the situation. It is only under the presumption of societal reform and linguistic equality that we will be able to completely eradicate social discrimination, eradicate language discrimination, and realise true equality between men and women. Over the course of the last century, women have made significant progress toward attaining the same rights as men. They venture out into the world and perform tasks that were traditionally reserved for males, and their contributions to society are on par with those made by men.
===References===
Bai Jiehong 白解红(2000). 性别语言文化与语用研究[Male/Female Language, Culture and Pragmatics].湖南教育出版社Hunan Education Publishing House, 20.

Wang Xiuying王秀英(2016).浅谈英汉语言中的性别歧视现象及其产生的根源[On sexism in English and Chinese and its causes].甘肃高师学报GANSU GAOSHI XUEBAO, 34-35.

Zhou Huanmei 周欢梅(2011).隐喻视角下的英汉语言性别歧视研究[A study of gender discrimination in English and Chinese languages from the perspective of metaphor].西北大学Northwest University, 14-15.

Yin Xue尹雪(2012)汉语词汇中的性别歧视研究[A study of sexism in Chinese vocabulary].黑龙江大学Heilongjiang University, 26-27.

Zhao Yiran赵羿然(2020).英汉语言中性别歧视的成因分析[An analysis of the causes of sexism in English and Chinese].现代交际Modern Communication, 62-63.

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==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 3

2022-07-06T06:39:30Z

Li Yijia: /* References */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

===Reasons and how to fix===
Reasons
(A) the historical roots
In this era of social-economic production capacity in the hands of women, when women held the dominant position in society, the history of women in matriarchal societies was illustrious. During the age of patriarchal society, however, economic production capacity increasingly came to be dominated by men, and women's status, in general, declined, placing them in a subordinate position. In a culture dominated by white men, the English language is sexist, excluding and degrading women. Chinese society is profoundly influenced by the feudal patriarchal structure and feudal moral ideals, which have transformed the interaction between men and women into a master-servant relationship characterised by pecking. In the history of both the east and west, great deeds are attributed to men, while women are responsible for the death, indicating that the concept of roles has been deeply ingrained in the evolution of human society.

(B) the cultural roots
As the expression of people's thoughts and ideas, language will reflect the social culture and ideas of a particular time period. In western culture, the Bible has a significant impact on people's thoughts. Eve was derived from Adam's rib, according to the Bible, and the theory that God created man became the basis for the theory of the origin of language, thereby establishing the preeminent position of men from the beginning and relegating women to a subordinate and submissive position. China's culture is primarily inspired by Confucianism, and the idea of male dominance and female inferiority have been documented in history since Spring and Autumn Warring States Period. The founder of Confucianism, Confucius, once stated, "Only ladies and villains are difficult to raise." There were three thousand disciples and seventy-two sages, but no female disciples. Long-term, the ancient Chinese government encouraged women to adhere to the "three obedience and four virtues." In accordance with the principles of "internal and external differences" and "the idea of male superiority and female inferiority," the Confucian ethical code mandates that women's morality, behaviour, and cultivation be standardised. Insisting that women should be subservient to males, that they should serve men, not for their own position and resistance. The concepts of the world's three major religions, also reflect the disparaging and exclusive nature of their content against women. Consequently, the assumption of male dominance in human history and culture has contributed to the creation of sexist language in both China and Western nations. As co-founders of historical civilisation, men and women should have equal social standing.

(C) the social roots
The traditional social division of labour places a disproportionate number of males in high-status occupations in comparison to the number of women, which results in a diminished significance of one's place of employment. On the other hand, women have stronger social connections in the context of the household and caregiving. Because women have a natural tendency to attach themselves to men, men have the potential to benefit from their careers, properties, and other advantages to achieve a greater standing in their families and in society. When women are relegated to a subordinate position in their families and in society as a whole, the only means by which they can compensate are by other means, such as the elegance of their behaviour, the use of linguistic norms, etc. Because of this circumstance, the way language is mirrored can be rather different. (Zhao Yiran,2020,62-63)

Due to the influence of social and cultural forces, the concept of women as "servants" to men has become deeply ingrained, resulting in a distinct social psychology. Someone will frequently ask a woman at a party in the United Kingdom, "What does your husband do?" But nobody will ever ask a male, "What does your wife do?" If anyone dared to ask him such questions, he would respond, " She's my wife!" This demonstrates that there is no need to inquire about the status of women, a prevalent male mentality. Women like to employ ambiguous language and rhetorical questions because, even if they have more opportunities to attain the upper echelons of society today, they psychologically permit men to rule.

Due to historical and cultural factors, gender discrimination persists in the vast majority of languages. People are progressively becoming aware of the significance of women's standing and their indispensable role as social civilization advances. In today's society, despite the fact that women's social status in all aspects has been greatly improved, especially the economic status has improved, language, and gender discrimination have also improved accordingly. However, to eliminate the real sense of language, and gender discrimination, It is impossible to eliminate this phenomenon only through language reform. It will be a difficult and long process to fundamentally change the idea that men are superior to women.

how to fix it

The advancement of civilization, the rise in the general level of living, and the growth of society all contribute to an overall rise in the social standing of women, which is expected to continue rising. Researchers who study linguistic sexism argue that language is also sexist in the form of "derogatory" words for women and "complimentary" words for men. This has led to the launch of a campaign to eliminate discrimination in countries where English is the primary language. It is of the utmost importance to eradicate sexism and racism from the English language. The primary objectives are to enhance discrimination in the English language and to enhance the habit of using language that is more appropriate for everyday use. While referring to other people, always use neutral phrases; never use male terminology or complex words when talking about women. Specifically, the job title should be composed of female language, and there shouldn't be any extra affixes to indicate what they're supposed to mean. When it comes to making a distinction between the sexes, the majority of individuals will refer to females with the pronoun "he" rather than "she" in certain circumstances. Additionally, avoid using phrases that are derogatory to women, and steer clear of including old stereotypes in what you say. The relationship between society and language is quite close. The status of women in a language tends to rise in tandem with their rise in social standing. Get rid of the misogyny that comes from using third-person pronouns.

The phenomena of sexism in language, with the goal of producing a more conducive environment for the experience of language by women. In the United States, feminist linguists such as Mary Ritchie Key have proposed a "non-gender language" that advocates women's independent and equal social roles. The non-gender language's most significant and obvious manifestation is the neutral transformation of the meaning of female bias words. Other manifestations of the non-gender language include the promotion of women's economic independence. Linguists that adhere to the feminist perspective feel that there should be a gender-aware approach to the use of generic terminology. The generic usage of masculine terms is converted to neutral words, and the words that are tied to the original masculine words in the form of suffixes are altered into a structure that does not have a bias toward males. Such as "-er," "-or," "-ist," or "person generation" for the original "first-ess and-ette"; for example, "fireman" and "firefighter" and "suffragette" and "suffragist." Certain jobs do not discriminate on the basis of gender and avoid defining occupations or responsibilities using terms that are specific to either gender. For example, the position of "Lady Lawyer" has been replaced by the more objective and gender-neutral term "Lawyer," and "Man-Sized jobs" have been replaced by the term "Big Jobs" or "Heavy Work." Expressions of women that are negative or sarcastic should be avoided, as should language that expresses stereotypical or formulaic roles and behaviours of women. In addition, negative or sarcastic expressions of women should not be used.
To truly achieve liberation, women must also be willing to fight for it themselves. When compared to the impact that society has on language, the rate at which language reflects society is far slower.
People urge for a society that is gender-neutral, but so long as there is discrimination and bias in language, it will be a barrier to the progression and development of society. As a result, we ought to give this issue our full attention and comprehend the gravity of the situation. It is only under the presumption of societal reform and linguistic equality that we will be able to completely eradicate social discrimination, eradicate language discrimination, and realise true equality between men and women. Over the course of the last century, women have made significant progress toward attaining the same rights as men. They venture out into the world and perform tasks that were traditionally reserved for males, and their contributions to society are on par with those made by men.
===References===
Bai Jiehong 白解红(2000). 性别语言文化与语用研究[Male/Female Language, Culture and Pragmatics].湖南教育出版社Hunan Education Publishing House, 20.
Wang Xiuying王秀英(2016).浅谈英汉语言中的性别歧视现象及其产生的根源[On sexism in English and Chinese and its causes].甘肃高师学报GANSU GAOSHI XUEBAO, 34-35.
Zhou Huanmei 周欢梅(2011).隐喻视角下的英汉语言性别歧视研究[A study of gender discrimination in English and Chinese languages from the perspective of metaphor].西北大学Northwest University, 14-15.
Yin Xue尹雪(2012)汉语词汇中的性别歧视研究[A study of sexism in Chinese vocabulary].黑龙江大学Heilongjiang University, 26-27.
Zhao Yiran赵羿然(2020).英汉语言中性别歧视的成因分析[An analysis of the causes of sexism in English and Chinese].现代交际Modern Communication, 62-63.

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===Questions===

==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 3

2022-07-06T06:39:07Z

Li Yijia:

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

===Reasons and how to fix===
Reasons
(A) the historical roots
In this era of social-economic production capacity in the hands of women, when women held the dominant position in society, the history of women in matriarchal societies was illustrious. During the age of patriarchal society, however, economic production capacity increasingly came to be dominated by men, and women's status, in general, declined, placing them in a subordinate position. In a culture dominated by white men, the English language is sexist, excluding and degrading women. Chinese society is profoundly influenced by the feudal patriarchal structure and feudal moral ideals, which have transformed the interaction between men and women into a master-servant relationship characterised by pecking. In the history of both the east and west, great deeds are attributed to men, while women are responsible for the death, indicating that the concept of roles has been deeply ingrained in the evolution of human society.

(B) the cultural roots
As the expression of people's thoughts and ideas, language will reflect the social culture and ideas of a particular time period. In western culture, the Bible has a significant impact on people's thoughts. Eve was derived from Adam's rib, according to the Bible, and the theory that God created man became the basis for the theory of the origin of language, thereby establishing the preeminent position of men from the beginning and relegating women to a subordinate and submissive position. China's culture is primarily inspired by Confucianism, and the idea of male dominance and female inferiority have been documented in history since Spring and Autumn Warring States Period. The founder of Confucianism, Confucius, once stated, "Only ladies and villains are difficult to raise." There were three thousand disciples and seventy-two sages, but no female disciples. Long-term, the ancient Chinese government encouraged women to adhere to the "three obedience and four virtues." In accordance with the principles of "internal and external differences" and "the idea of male superiority and female inferiority," the Confucian ethical code mandates that women's morality, behaviour, and cultivation be standardised. Insisting that women should be subservient to males, that they should serve men, not for their own position and resistance. The concepts of the world's three major religions, also reflect the disparaging and exclusive nature of their content against women. Consequently, the assumption of male dominance in human history and culture has contributed to the creation of sexist language in both China and Western nations. As co-founders of historical civilisation, men and women should have equal social standing.

(C) the social roots
The traditional social division of labour places a disproportionate number of males in high-status occupations in comparison to the number of women, which results in a diminished significance of one's place of employment. On the other hand, women have stronger social connections in the context of the household and caregiving. Because women have a natural tendency to attach themselves to men, men have the potential to benefit from their careers, properties, and other advantages to achieve a greater standing in their families and in society. When women are relegated to a subordinate position in their families and in society as a whole, the only means by which they can compensate are by other means, such as the elegance of their behaviour, the use of linguistic norms, etc. Because of this circumstance, the way language is mirrored can be rather different. (Zhao Yiran,2020,62-63)

Due to the influence of social and cultural forces, the concept of women as "servants" to men has become deeply ingrained, resulting in a distinct social psychology. Someone will frequently ask a woman at a party in the United Kingdom, "What does your husband do?" But nobody will ever ask a male, "What does your wife do?" If anyone dared to ask him such questions, he would respond, " She's my wife!" This demonstrates that there is no need to inquire about the status of women, a prevalent male mentality. Women like to employ ambiguous language and rhetorical questions because, even if they have more opportunities to attain the upper echelons of society today, they psychologically permit men to rule.

Due to historical and cultural factors, gender discrimination persists in the vast majority of languages. People are progressively becoming aware of the significance of women's standing and their indispensable role as social civilization advances. In today's society, despite the fact that women's social status in all aspects has been greatly improved, especially the economic status has improved, language, and gender discrimination have also improved accordingly. However, to eliminate the real sense of language, and gender discrimination, It is impossible to eliminate this phenomenon only through language reform. It will be a difficult and long process to fundamentally change the idea that men are superior to women.

how to fix it

The advancement of civilization, the rise in the general level of living, and the growth of society all contribute to an overall rise in the social standing of women, which is expected to continue rising. Researchers who study linguistic sexism argue that language is also sexist in the form of "derogatory" words for women and "complimentary" words for men. This has led to the launch of a campaign to eliminate discrimination in countries where English is the primary language. It is of the utmost importance to eradicate sexism and racism from the English language. The primary objectives are to enhance discrimination in the English language and to enhance the habit of using language that is more appropriate for everyday use. While referring to other people, always use neutral phrases; never use male terminology or complex words when talking about women. Specifically, the job title should be composed of female language, and there shouldn't be any extra affixes to indicate what they're supposed to mean. When it comes to making a distinction between the sexes, the majority of individuals will refer to females with the pronoun "he" rather than "she" in certain circumstances. Additionally, avoid using phrases that are derogatory to women, and steer clear of including old stereotypes in what you say. The relationship between society and language is quite close. The status of women in a language tends to rise in tandem with their rise in social standing. Get rid of the misogyny that comes from using third-person pronouns.

The phenomena of sexism in language, with the goal of producing a more conducive environment for the experience of language by women. In the United States, feminist linguists such as Mary Ritchie Key have proposed a "non-gender language" that advocates women's independent and equal social roles. The non-gender language's most significant and obvious manifestation is the neutral transformation of the meaning of female bias words. Other manifestations of the non-gender language include the promotion of women's economic independence. Linguists that adhere to the feminist perspective feel that there should be a gender-aware approach to the use of generic terminology. The generic usage of masculine terms is converted to neutral words, and the words that are tied to the original masculine words in the form of suffixes are altered into a structure that does not have a bias toward males. Such as "-er," "-or," "-ist," or "person generation" for the original "first-ess and-ette"; for example, "fireman" and "firefighter" and "suffragette" and "suffragist." Certain jobs do not discriminate on the basis of gender and avoid defining occupations or responsibilities using terms that are specific to either gender. For example, the position of "Lady Lawyer" has been replaced by the more objective and gender-neutral term "Lawyer," and "Man-Sized jobs" have been replaced by the term "Big Jobs" or "Heavy Work." Expressions of women that are negative or sarcastic should be avoided, as should language that expresses stereotypical or formulaic roles and behaviours of women. In addition, negative or sarcastic expressions of women should not be used.
To truly achieve liberation, women must also be willing to fight for it themselves. When compared to the impact that society has on language, the rate at which language reflects society is far slower.
People urge for a society that is gender-neutral, but so long as there is discrimination and bias in language, it will be a barrier to the progression and development of society. As a result, we ought to give this issue our full attention and comprehend the gravity of the situation. It is only under the presumption of societal reform and linguistic equality that we will be able to completely eradicate social discrimination, eradicate language discrimination, and realise true equality between men and women. Over the course of the last century, women have made significant progress toward attaining the same rights as men. They venture out into the world and perform tasks that were traditionally reserved for males, and their contributions to society are on par with those made by men.
===References===

===Terms===

===Questions===

==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 3

2022-07-06T06:24:38Z

Li Yijia: /* Reasons and how to fix */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 3==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

===Reasons and how to fix===
Reasons
(A) the historical roots
In this era of social-economic production capacity in the hands of women, when women held the dominant position in society, the history of women in matriarchal societies was illustrious. During the age of patriarchal society, however, economic production capacity increasingly came to be dominated by men, and women's status, in general, declined, placing them in a subordinate position. In a culture dominated by white men, the English language is sexist, excluding and degrading women. Chinese society is profoundly influenced by the feudal patriarchal structure and feudal moral ideals, which have transformed the interaction between men and women into a master-servant relationship characterised by pecking. In the history of both the east and west, great deeds are attributed to men, while women are responsible for the death, indicating that the concept of roles has been deeply ingrained in the evolution of human society.

(B) the cultural roots
As the expression of people's thoughts and ideas, language will reflect the social culture and ideas of a particular time period. In western culture, the Bible has a significant impact on people's thoughts. Eve was derived from Adam's rib, according to the Bible, and the theory that God created man became the basis for the theory of the origin of language, thereby establishing the preeminent position of men from the beginning and relegating women to a subordinate and submissive position. China's culture is primarily inspired by Confucianism, and the idea of male dominance and female inferiority have been documented in history since Spring and Autumn Warring States Period. The founder of Confucianism, Confucius, once stated, "Only ladies and villains are difficult to raise." There were three thousand disciples and seventy-two sages, but no female disciples. Long-term, the ancient Chinese government encouraged women to adhere to the "three obedience and four virtues." In accordance with the principles of "internal and external differences" and "the idea of male superiority and female inferiority," the Confucian ethical code mandates that women's morality, behaviour, and cultivation be standardised. Insisting that women should be subservient to males, that they should serve men, not for their own position and resistance. The concepts of the world's three major religions, also reflect the disparaging and exclusive nature of their content against women. Consequently, the assumption of male dominance in human history and culture has contributed to the creation of sexist language in both China and Western nations. As co-founders of historical civilisation, men and women should have equal social standing.

(C) the social roots
The traditional social division of labour places a disproportionate number of males in high-status occupations in comparison to the number of women, which results in a diminished significance of one's place of employment. On the other hand, women have stronger social connections in the context of the household and caregiving. Because women have a natural tendency to attach themselves to men, men have the potential to benefit from their careers, properties, and other advantages to achieve a greater standing in their families and in society. When women are relegated to a subordinate position in their families and in society as a whole, the only means by which they can compensate are by other means, such as the elegance of their behaviour, the use of linguistic norms, etc. Because of this circumstance, the way language is mirrored can be rather different. (Zhao Yiran,2020,62-63)

Due to the influence of social and cultural forces, the concept of women as "servants" to men has become deeply ingrained, resulting in a distinct social psychology. Someone will frequently ask a woman at a party in the United Kingdom, "What does your husband do?" But nobody will ever ask a male, "What does your wife do?" If anyone dared to ask him such questions, he would respond, " She's my wife!" This demonstrates that there is no need to inquire about the status of women, a prevalent male mentality. Women like to employ ambiguous language and rhetorical questions because, even if they have more opportunities to attain the upper echelons of society today, they psychologically permit men to rule.

Due to historical and cultural factors, gender discrimination persists in the vast majority of languages. People are progressively becoming aware of the significance of women's standing and their indispensable role as social civilization advances. In today's society, despite the fact that women's social status in all aspects has been greatly improved, especially the economic status has improved, language, and gender discrimination have also improved accordingly. However, to eliminate the real sense of language, and gender discrimination, It is impossible to eliminate this phenomenon only through language reform. It will be a difficult and long process to fundamentally change the idea that men are superior to women.

how to fix it

The advancement of civilization, the rise in the general level of living, and the growth of society all contribute to an overall rise in the social standing of women, which is expected to continue rising. Researchers who study linguistic sexism argue that language is also sexist in the form of "derogatory" words for women and "complimentary" words for men. This has led to the launch of a campaign to eliminate discrimination in countries where English is the primary language. It is of the utmost importance to eradicate sexism and racism from the English language. The primary objectives are to enhance discrimination in the English language and to enhance the habit of using language that is more appropriate for everyday use. While referring to other people, always use neutral phrases; never use male terminology or complex words when talking about women. Specifically, the job title should be composed of female language, and there shouldn't be any extra affixes to indicate what they're supposed to mean. When it comes to making a distinction between the sexes, the majority of individuals will refer to females with the pronoun "he" rather than "she" in certain circumstances. Additionally, avoid using phrases that are derogatory to women, and steer clear of including old stereotypes in what you say. The relationship between society and language is quite close. The status of women in a language tends to rise in tandem with their rise in social standing. Get rid of the misogyny that comes from using third-person pronouns.

The phenomena of sexism in language, with the goal of producing a more conducive environment for the experience of language by women. In the United States, feminist linguists such as Mary Ritchie Key have proposed a "non-gender language" that advocates women's independent and equal social roles. The non-gender language's most significant and obvious manifestation is the neutral transformation of the meaning of female bias words. Other manifestations of the non-gender language include the promotion of women's economic independence. Linguists that adhere to the feminist perspective feel that there should be a gender-aware approach to the use of generic terminology. The generic usage of masculine terms is converted to neutral words, and the words that are tied to the original masculine words in the form of suffixes are altered into a structure that does not have a bias toward males. Such as "-er," "-or," "-ist," or "person generation" for the original "first-ess and-ette"; for example, "fireman" and "firefighter" and "suffragette" and "suffragist." Certain jobs do not discriminate on the basis of gender and avoid defining occupations or responsibilities using terms that are specific to either gender. For example, the position of "Lady Lawyer" has been replaced by the more objective and gender-neutral term "Lawyer," and "Man-Sized jobs" have been replaced by the term "Big Jobs" or "Heavy Work." Expressions of women that are negative or sarcastic should be avoided, as should language that expresses stereotypical or formulaic roles and behaviours of women. In addition, negative or sarcastic expressions of women should not be used.
To truly achieve liberation, women must also be willing to fight for it themselves. When compared to the impact that society has on language, the rate at which language reflects society is far slower.
People urge for a society that is gender-neutral, but so long as there is discrimination and bias in language, it will be a barrier to the progression and development of society. As a result, we ought to give this issue our full attention and comprehend the gravity of the situation. It is only under the presumption of societal reform and linguistic equality that we will be able to completely eradicate social discrimination, eradicate language discrimination, and realise true equality between men and women. Over the course of the last century, women have made significant progress toward attaining the same rights as men. They venture out into the world and perform tasks that were traditionally reserved for males, and their contributions to society are on par with those made by men.

==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 3

2022-07-06T06:24:18Z

Li Yijia:

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 3==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

===Reasons and how to fix===

==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Culture 3

2022-07-06T06:21:24Z

Li Yijia: /* Introduction */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.

Gender language has always been an important topic in pragmatic research, that is, to study a specific, unknown relationship between gender and language from the perspective of sex. For example, from the perspective of sociolinguistic research, we will explore the differences in gender differences in speech, intonation, vocabulary, syntax, and discourse style, as well as the causes and trends of these differences. Feminist linguistics originated from the Western women's liberation movement in the 1960s. Studying problems from a feminine perspective forms feminist linguistics. "Women are liberated through language" is one of the slogans of female protagonists, revealing the existence of sexism in English is the focus of feminist language linguistic research. Shifting from the early focus on specific gender language differences in order to deconstruct and reflect on the existing cultural system, the content of feminist linguistics is deepening. Since the 1970s, many researchers have begun to try to compare the two-gender languages from the perspective of analyzing the language used by women. For example, R Lakoff, Henley, et al. discussed the performance of gender differences in static languages such as speech, grammar, and vocabulary from the perspective of sociolinguistic research. Since the 1980s, dynamic speech has become the focus of research, that is, the differences in communication styles and personalities between men and women, such as the amount of discourse, topic control, wheel conversion, minimum response, dodge words, silence and other aspects, representative human beings such as Swann (1993) and Hirschman (1994). In the 1990s, gender language research gradually shifted to constructivism, with the aim of repositioning gender language research and conducting dynamic research on the process of people's use of language and behavior to mark personal identity and shape personal image in communicative activities, that is, to examine the relationship between language and gender with dynamic and related perspectives.

===Literature Review===
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure.
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives.
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax.
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.
===Word Formation===
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words.
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.
There are five type of Chinese characters with a “女”.
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)

Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife."
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.

===Proverbs===

Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)
There are five types of proverbs containing gender discrimination.
1. reflecting the defects of the female sex：
三个女人一台戏。 (Three women can constitute a play.)
红颜女子多是非。 (Beautiful women can attract troubles.)
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)
2. reflecting the low status of women：
精女不如痴男。(Smart women are inferior to dumb men.)
母以子为贵。(Mothers’ honor is their sons. )
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)
3. reflecting the ignorance of women：
头发长见识短。 (Long hair, short sight.)
女子无才便是德。 (No knowledge is the value of a woman.)
妇人之言不可听。(A woman’s advice is never to seek. )
4. reflecting the existence of sexism in marriage：
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)
女大不中留。(You cannot keep an old daughter.)
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)
5. reflecting that women are evil and curse:
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)
最毒妇人心。 (There is no devil so bad as a woman’s heart.)

===Metaphors===
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.

In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.
苗条 (sprout and branch): describes a woman's slender and feminine figure.
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.
轻盈(light): describes a woman with a slim figure and brisk movements.

However, the Tang Dynasty considered chubby women as beautiful.

The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.

According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.

The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.

In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.

==英语笔译李思敏 Li Simin 202170081574==
<center>'''Global Impact of Chinese Language'''</center>
<center>''' Li Simin'''</center>

===Abstract===

In recent years, China's comprehensive national strength has been continuously strengthened and it has played an important role in international affairs, coupled with the rapid economic development, a large number of foreign enterprises in China has increased. China's huge market and development potential are obvious to all. The culture with a long history and China's rapidly developed economy will inevitably lead to an increasing degree of internationalization of the Chinese language. In the context of economic globalization, the number of people learning Chinese is increasing. The worldwide Chinese fever that has emerged in recent years reflects the fact that a rising China is beginning to show its greater impact on the world. Language is the carrier of culture, and when a country's national language is universally studied as a foreign language, it reflects a considerable extent the real improvement of the country's international status and the deepening of its influence.

Chinese is one of the oldest and most developed languages in the world with international influence. Chinese plays an extremely important role in the history of Oriental culture and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia. Chinese and Chinese characters had spread to Japan, Korea, Vietnam and other countries along with the highly developed science and culture of ancient China. Until now, Chinese vocabulary occupies a very important position in the languages of these countries, and even forms a very large part of the basic vocabulary of these languages. Most of the ancient historical documents of these countries are recorded in Chinese characters. After the founding of New China, with the improved international status of China, the status of Chinese in the world has also been increasing day by day.

China's development has brought opportunities to all countries in the world, and mastering the Chinese language has become an important condition for many people to seize opportunities for development, which also marks the rapid enhancement of China's soft power. However, in addition to the excitement, we must also keep a clear head and bear in mind that there is still a long way to go before Chinese truly becomes a dominant language in the world.

===Key Words===

Chinese Language; Global Impact; Chinese fever

===Introduction===

Chinese is the language used by the largest number of people in the world, with at least 1.5 billion people speaking Chinese in the world, accounting for 20% of the world's total population. In recent years, China's influence in the world has been increasing and the global impact of the Chinese language has gradually improved, with a wave of learning Chinese formed around the world. On November 21, 2004, China's first overseas Confucius Institute was established in South Korea, and then the Chinese government began to actively promote the wide spread of the Chinese language and culture in the world. As of 2019, China has established 550 Confucius Institutes and 1,172 Confucius Classrooms in primary and secondary schools in 162 countries (regions), training more than 9 million foreign students.

In the context of economic globalization, with the frequent exchanges between countries, languages and the cultures they carry are also constantly communicating, colliding and merging. As an important cultural carrier, language plays an irreplaceable and fundamental role in promoting the exchange and understanding of different cultures. At present, the overseas "Chinese fever" is promoting Chinese culture to the world, which is of great significance to eliminating the misunderstanding of Chinese culture in Western society and promoting world peace.

===The Status of Chinese Language in World Languages===

As we all know, Chinese is one of the oldest languages in the world and it is also one of the six official languages prescribed by the United Nations. However, due to various factors, there is still a big gap between the international status of the Chinese and the expectations of the Chinese people.

The Swiss sociologist George Weber had an impact on the international status of the world's top ten languages in the mid-1990s according to relevant criteria. The ranking is based on the following six aspects: (a) The number of native speakers of the language; (b) the number of persons who uses the language as a second language; (c) the economic, scientific and technological and military strength of the State in which the language is spoken; (d) The most frequently used language in the fields of diplomacy, international trade, international organizations, academic exchanges, etc.; (e) The number of countries and populations that use the language; (f) The prestige of the language in the field of social and humanistic fields (e.g., whether the books written in the language has won the Nobel Prize in Literature, how many world-famous works have been written in the language); Additional points are added if it is an official language of the United Nations.

It is worth noting that according to the survey and analysis of George Weber, among the world languages, the top ten languages ranked by the number of native speakers are: First, Chinese (accounting for 20.7% of the world's total population); Second, English (6.2%); Third, Spanish (5.6%); Fourth, Hindi, and Urdu (4.7%); Fifth, Arabic (3.8%); Sixth, Bengali (3.5%); Seventh, Brazil, Portuguese (3.0%); Eighth, Russian (3.0%); Ninth, Japanese (2.3%); Tenth, German (1.8%). French came in at thirteenth place (1.4%), narrowly outperforming Korean. According to the second indicator, how many people use the language as their second language, the ranking is changed to: First, French (about 180 million); Second, English (about 150 million); Third, Russian (about 120 million); Fourth, Portuguese (about 30 million); Fifth, Arabic (about 24 million); Sixth, Spanish (about 22 million); Seventh, Chinese (about 21 million); Eighth, German (about 20 million); Ninth, Japanese (about 10 million); Tenth, Hindi.

According to the comprehensive consideration of the above six standards, the international status ranking of the world's languages was finally revealed. The top five were: 1. English; 2. French; 3. Spanish; 4. Russian; 5. Arabic; Chinese is fortunate to be sixth.

Entering the 21st century, the situation has changed in less than a decade. According to the "2005 United Nations Survey Report on the World's Major Languages, Distribution and Application", the new world's top ten language ranking list was announced, and the "world's top ten languages" were: 1. English; 2. Chinese; 3. German; 4. French; 5. Russian; 6. Spanish; 7. Japanese; 8. Arabic; 9. Korean; 10. Portuguese. Chinese has leaped to become the second-largest language after English, and the report also affirms the reality of China's rise as an emerging power. It was reiterated that the United Nations Standards for the Chinese Character System were consistent with the Simplified Chinese Characters of the Mainland. The official text of Chinese characters released to the outside world is based on Simplified Chinese characters. And the report also believes that South Korea's practice of abolishing Chinese characters has increased ambiguity in international trade exchanges, it is proposed to add an appropriate number of Chinese characters to be used in parallel with the Korean language.
"The United Nations Survey on the World's Major Languages, Distribution and Application" launched a new world's top ten languages, and Chinese ranked second, which reflects the improvement of The international status of Chinese. In the international spread of languages, the competition between Chinese and English may have begun, of course, not everyone likes to see it.

===The Global Impact of the Chinese Language===

（1）The influence on ''Oxford English Dictionary''

With a history of more than 150 years, the ''Oxford English Dictionary'' is considered the most comprehensive and authoritative English dictionary, and is known as the golden rule of the English-speaking world, and each word included in it had experienced a long and deliberate process. This giant dictionary has been updated every three months since 2000 and now contains more than 600,000 English words, including more than 1,500 English words with Chinese elements.

The ''Oxford English Dictionary'' published by Oxford University Press in March 2016, included 500 new words, of which 13 words with Chinese elements came from the Hong Kong Special Administrative Region of China, such as char siu ( barbecued pork), yum cha (drink tea), milk tea (a kind of beverage that mixes milk and tea), dai pai dong (sidewalk snack booth) and so on. They have distinctive local characteristics and are mostly displayed in Cantonese pinyin.

Some of the Chinese loanwords in the ''Oxford English Dictionary'' are derived from Mandarin, such as feng shui (the location of a house or tomb, supposed to influence the fortune of a family), tung oil (China wood oil), paper tiger (a metaphor for a man who is outwardly strong and inwardly weak), Maoism (Maoism is a scientific guiding ideology suitable for China's actual situation formed by the Communist Party of China (CPC) with Comrade Mao Zedong as the main representative in the long-term practice of revolution and construction, according to the basic principles of Marxism-Leninism.), etc. Some are derived from Cantonese, such as kowtow (a traditional Chinese etiquette: one's kneel and hands on the ground, with his or her head on the ground), pakchoi (Chinese cabbage), samfu (shirts and pants), etc.; Others originate from the Fujian dialect, such as satin (refers to smooth glossy silk with a thick side), Kylin (Chinese unicorn), oolong (oolong tea) and so on. These English words containing Chinese elements are usually produced in five ways: transliteration, free translation, transliteration and free translation, transliteration pluses affixes and semantic regeneration, which have more or less undergone a certain degree of "Anglicization" transformation, and are integrated into the Vocabulary System and Pragmatic System of English.

In addition to Chinese loanwords, the ''Oxford English Dictionary'' also includes some expressions with Chinese elements (i.e., "Chinglish"), such as a long time no see (haven't seen you for a long time) and loss face (dishonor). Although these Chinglish do not conform to the expression habits of traditional English, English-speaking people like to use them. According to experts from the U.S. Global Language Monitoring (GLM) agency, as the influence of the Chinese grows, it will not be long before Chinglish such as good good study, day day up (study hard and do better every day), no money no talk (without money, any talk is spared), and add oil (used to encourage others) will also enter this dictionary.

The ''Oxford English Dictionary'' continues to include words and expressions containing Chinese elements, which not only enriches the cultural connotation of English, but also promotes the global development of English, also reflecting the increasing influence of Chinese on English. As Professor Zhou Haizhong, a Chinese Chinese linguist, said: "With the increasingly frequent exchanges between the Chinese nation and the English-speaking nations, there will be more and more English words and expressions from Chinese, thus further promoting the internationalization and diversification of English."

（2）“Chinese fever”

There was a Chinese craze in the 1970s. At that time, due to the relaxation of Sino-US relations, China restored its seat in the United Nations, and the world saw China that began to go globally with a new vision. Therefore, a wave of learning Chinese craze first arose in the United States, and the impact drove the Chinese fever in the entire Western world. However, due to the small economic influence of China at that time and China's foreign economic ties with other countries were not firm, the Chinese fever could not continue to burn for a long time. Compared with that wave of Chinese fever, the reason why the current new wave of Chinese fever is so extensive, so numerous, and so strong is that China has risen rapidly in the context of an era of economic globalization.

Since the launch of the reform and opening-up policy, with the continuous development of China's economy and society and the continuous improvement of comprehensive national strength, Chinese learning has continued to heat up abroad and the international community's awareness of Chinese has become higher and higher. Today's "Chinese fever" is mainly manifested in the following three aspects.
First, the number of overseas Chinese learners is rising steadily, and the geographical distribution of overseas Chinese education is becoming more and more extensive. The number of people studying Chinese overseas is now growing at a rate of about 50% or even faster per year. Some countries and regions that were not the hot spots for Chinese overseas immigrants have now begun to follow the "Chinese fever" trend. For example, Zambia, Mozambique, Kenya, Ghana in Africa, Cuba, Uruguay, Ecuador, Bolivia, Costa Rica in South America, and Equatorial Guinea in Oceania have begun to appear in various forms of Chinese schools.

Second, the ethnic backgrounds of overseas Chinese learners show a diversified development trend. For a long time, the main group of people studying Chinese abroad has been the children of overseas Chinese immigrants. But now the situation is changing, more and more non-Chinese people from all walks of life who are interested in Chinese culture or want to work related to China are beginning to join the overseas Chinese learning team. For example, Chinese education in Southeast Asian countries used to be taught in the mother tongue of Chinese children, but now many non-Chinese children have begun to compete to learn Chinese, and some non-Chinese students in Southeast Asian countries have accounted for one-third to half of the students in Chinese schools, and this trend is constantly strengthening. For example, in the United Kingdom, the former Chinese students were all Chinese children, but now most of the students come from different ethnic groups.

Third, overseas Chinese language education is increasingly supported by the understanding and policy support of local governments and education authorities. The continuous heating up of the "Chinese fever" around the world has made the governments and education authorities of many countries pay more and more attention to local Chinese education and Chinese schools, and have begun to contact the local Chinese community, hoping to strengthen cooperation and exchanges and jointly promote the development of local Chinese education. More than 60 countries around the world have incorporated Chinese language teaching into their national education systems. For example, Ireland announced in 2020 that Chinese will be included in the foreign language subjects of the university entrance examination, Russia will list "Chinese" as a college entrance examination subject, and in Australia, Mandarin Chinese will jump to the second-largest language. Chinese education in the UK has long since shifted from the Chinese community to mainstream schools, government departments and other educational organizations with non-Chinese backgrounds in the UK. Spain and the Netherlands have listed Chinese courses as electives in local secondary schools. France uses Chinese as a third foreign language, and French students can take Chinese as the national public examination and receive extra points. Thailand, Brunei, Austria and other countries' governments directly fund and support the development of local Chinese education.

In 2004, China established a non-profit institution "Confucius Institute" abroad to disseminate Chinese culture and teach the Chinese language. In April 2007, thanks to the efforts of the China National Office, the Confucius Institute headquarters was established in Beijing. The Confucius Institute Headquarters is mainly responsible for the establishment of the teaching model of Confucius institutes, the selection of course products, the selection of Chinese teachers and volunteers, the convening of the global Confucius Institute Conference, and the evaluation of Confucius Institutes in different places. In March 2008, the online Confucius Institute, founded by the headquarters of the Confucius Institute, was put into operation, providing a variety of teaching resources and online courses to Chinese teachers, Chinese culture lovers and Chinese learners around the world, and it has the functions of the news release and online management of Confucius institutes. At present, the Confucius Institute has become a base for the promotion of the Chinese language and Chinese culture overseas, and a window for foreign countries to understand China. As of December 2019, China has established 550 Confucius Institutes and 1,172 Primary and Secondary School Confucius Classrooms in 162 countries (regions). Since its inception, the Confucius Institute has provided services for tens of millions of students from all over the world to learn Chinese and understand Chinese culture, played an important role in promoting the development of international Chinese education, and become an important platform for the world to understand China.

"Chinese fever" has also promoted the deepening of scholars at home and abroad on Chinese and Chinese dialects, Chinese culture, world sinology, intercultural communication, foreign communication, and foreign Chinese teaching. The training of Chinese as a foreign language is also booming, and the requirements are getting higher and higher, and the quality of teachers has also improved, which is also the driving force for promoting the "Chinese fever".

（3）The influence on other countries

Chinese plays an extremely important role in the history of Oriental culture, and has had a huge impact on the languages and cultures of its neighbors in East and Southeast Asia.

1. The influence of the Chinese language on the Japanese language

Although the Japanese nation has an ancient culture, its script was created quite late. For a long time, Japanese people have used Chinese characters as a carrier for them to spread their thoughts and express their emotions, calling Chinese characters "mana". At the beginning of the fifth century, a phonetic script of borrowed Kanji called "kana" appeared in Japan. In the eighth century, the use of Kanji to mark Japanese phonetics was relatively fixed, and its symbol was the compilation of the Manyoshu, so it was called "Manyo Kana". It is the basis for pure Japanese phonetic characters. The final creation of the Japanese script was done by kibi makibi and Kobo Daishi (Kukai). Both of them had long stayed in China during the Tang Dynasty and had a deep study of Chinese characters. The former creates a Japanese "katakana" based on the italics of the phonetic Kanji, while the latter uses kanji to create a Japanese "hiragana". Although the kana script has been prevalent in Japan since the tenth century, the use of Kanji has not been abolished. Until today, there are still more than a thousand simplified Chinese characters in Japanese characters that have occupied an important position in the world.

2. The influence of the Chinese language on the Korean language

The Korean script is called hangul, and its creation and application is an important achievement of ancient Korean culture. In fact, in the Middle Ages, Korea, like Japan, did not have a script, but used Chinese characters. After the unification of Silla, Xue Cong created the "이찰", that is, the use of Chinese characters to indicate Korean auxiliary words and auxiliary verbs to assist in reading Chinese books. In the end, because of the different languages, it could not be popularized.

At the beginning of the Li Dynasty, Sejong set up a hangul bureau in the palace, and ordered Zheng Linzhi, Cheng Sanwen and others to formulate hangul. They studied Korean phonetics based on Chinese phonology, creating 11 vowel letters and 17 consonant letters, which were published in 1443 AD. North Korea has since had its own script.

3. The influence of the Chinese language on the Vietnamese language

Before the tenth century, Vietnam was a county in China. Qin, Han, Sui, and Tang dynasties all had set up officials here, so they were deeply influenced by Chinese culture. After Vietnam's independence, whether the interaction of people from the upper class or school education and the creation of literary works, Chinese characters are used as tools. It was not until the thirteenth century that Vietnam had its own script, Chu Nom. Chu Nom is a new character based on Chinese characters, using methods such as echoism, phonetic loan characters, and syssemantographic method to express Vietnamese pronunciation. In the fifteenth century, Chu Nom completely replaced the Chinese characters throughout the country.

===The Reasons Why the Chinese Language Has a Global Impact===

（1）Economic Factor

After China acceded to the World Trade Organization, the impact of economic globalization on China has become greater and greater, and similarly, China's influence on other countries has also increased. In recent years, China's economy has maintained steady growth, more and more foreigners come to China to live and work, and more and more foreign enterprises set up in China, which have brought impetus to China's economic development and have also played a role in promoting the integration of cultural exchanges between China and many countries in the world. A leader of New Zealand once said that New Zealand will train some young people who can master the Chinese language. This is because China is an important commodity export market for New Zealand. In addition, the number of Chinese tourists to New Zealand is growing rapidly. In short, it can be considered that the benign development of China's economy has promoted the enhancement of the international influence of the Chinese language.

（2）Political Factor

As a socialist country, China is not only politically stable, but its comprehensive national strength has also gradually become stronger, and China has always been the image of a great nation in the world. This is inseparable from China's desire to integrate into the world and the world's need for China. China's position in international affairs cannot be ignored, and in the face of international disputes, China has always maintained a fair and just stance. China has made many contributions to world peace and development and has won praise from many people abroad. China has a stable political environment and a good reputation in the international community. Therefore, for many foreign people, to understand China more thoroughly, they have naturally risen a "Chinese fever".

（3）Cultural Factor

Language is a symbol of national culture, and the reason why Chinese has such a huge international appeal, in addition to undeniable economic factors, lies in the unique charm of the Chinese cultural heritage it carries that is profound, brilliant with a long history and contains strong vitality. Therefore, a large number of foreign scholars and international students have come to visit and study in China, and even some people choose to settle in China. Part of the reason is that China's habits and ideologies have an impact on these people. To have a deeper understanding of our culture, they need to learn Chinese.

（4）Educational Factor

As early as the 1960s, China established the Beijing Language and Culture Institute (now renamed "Beijing Language and Culture University") with the main task of educating international students in the Chinese language and culture. In 1987, China officially established the Office of the National Leading Group for the international promotion of the Chinese language, which was the beginning of China's formal promotion of the Chinese language internationally. On November 21, 2004, the world's first Confucius Institute was officially established in Seoul, the capital of South Korea, which is another milestone in the important position of the Chinese in the world. Today, there are hundreds of educational institutions in different countries that teach Chinese to foreign people, and they have further promoted the in-depth development of Chinese language learning by organizing teaching activities and running schools overseas.

===Methods to Enhance the Global Impact of the Chinese Language===

To enhance the international status of the Chinese language, Chinese governments should accelerate the spread of the Chinese language and expand the international influence of the Chinese language. I think it can be achieved from the following aspects:

(1) Vigorously promote Mandarin

The unification of language is first and foremost to facilitate communication, but it is also an important factor in enhancing national cohesion. It is necessary to continuously enhance the public's national awareness of the language, and cultivate the identification with Putonghua and the pride in speaking Mandarin. This requires education, media and other fields to take the lead in speaking and using Mandarin well, so as to set an example for the whole society. Actively and steadily do a good job in the promotion of Putonghua in cities and public service departments, strengthen the language communication of Chinese communities at home and abroad, and support Chinese language education carried out by overseas Chinese and their children.

(2) Accelerate the standardization of the Chinese language and Chinese characters

To make Chinese a mature, excellent, and influential language, Chinese governments must establish a series of scientific normative standards in terms of language structure, writing system, and social application of language and writing, which is convenient for the teaching and use of language, convenient for information processing of language and writing, and conducive to improving the prestige of language. In addition to considering the basic norms of language and writing (such as the standardized word list, etc.), special attention should also be paid to formulating various applicable normative standards in social language life, so that language uses can be orderly. For example, different types of education (literacy education, school mother tongue education, ethnic minority Chinese education, Chinese language education to foreign students) and different levels of education (kindergarten, primary school, junior high school) apply standard letters and words, use personal name and geographical name use word specification, translation transcription specification, computer word library construction regulations, network publishing language standards, network-oriented abbreviations of proper nouns, and so on.

(3) Give full play to the role of Pinyin

Pinyin is a national legal scheme that has been selected from thousands of schemes after more than 100 years of social practice, and its role is to spell Chinese and phonetic transcription for Chinese characters and to play a role in situations where Chinese characters are inconvenient or cannot be used. Especially in China and foreign exchanges and the exchange between people and machines, its role is very important and indispensable. At present, the application of the Pinyin scheme is still very insufficient, China's primary school education has a tendency to "dilute" Pinyin teaching, the application level of adult Pinyin is unbalanced, and the society's understanding and application of Pinyin is still relatively chaotic, these problems should be paid enough attention.

(4) Developing Chinese word information processing technology

The information processing of language and writing is a decisive battle and a victorious battle for China's informatization. The information processing of Chinese and Chinese words and characters is developing from word processing to language processing, and from word processing to speech processing. At present, we should first vigorously implement the talent strategy, gather multidisciplinary talents specialized in such as linguistics and information technology to jointly tackle key problems, and cultivate comprehensive language information processing talents, especially to cultivate several discipline leaders. The second is to implement the resource strategy, concentrate on building various language resources and software resources with independent intellectual property rights, such as written corpora and spoken language corpus with grammar and semantic marks, various information dictionaries and knowledge dictionaries, etc., and increase resource sharing and complementation through clear intellectual property rights and unified normative standards. The third is to implement the development strategy, timely transform scientific research results into products, and occupy the market, supporting scientific research through product benefits.

(5) Comprehensively build a network database of Chinese language

Without e-databases, especially public-oriented databases, e-government, e-commerce, e-education, and e-entertainment will not work successfully. language databases should be based on Chinese as the center, and pay attention to the development of multilingual databases to facilitate foreigners to visit the Chinese website. The establishment of databases of Chinese culture such as digital libraries and museums has gradually digitized Chinese culture, which is convenient for Chinese and foreign researchers to use the database to explore the treasures of Chinese culture.

(6) Gradually promote the internationalization of the Chinese language

As one of the world languages, Chinese should accelerate the process of internationalization based on self-development and improvement. The United States, Britain, France, Spain, Germany, Japan, and other countries have been implementing the international communication strategy of English, French, Spanish, German, Japanese, etc., and they have spread their languages to other countries through trade, media, education, culture, and other means. China should also sum up and draw experience from it, and take effective measures to speed up the pace of the Chinese language moving toward the world.

===Conclusion===

With the development of China's economy, the Chinese language has also developed continuously. The international influence of the Chinese language is increasing day by day, and its status in the international community is also increasing, which can be described as a strong national language. At present, Chinese is on the way to becoming a strong international communication language, but there is still a long way to go before it comes true. To this end, we must study and understand the current international status of Chinese, compare it with English, a strong communication language, objectively analyze the advantages and disadvantages of Chinese, improve and develop the Chinese language and culture, and gradually accelerate the process of Chinese internationalization, striving to play a greater role in international exchanges in the future. Today's Chinese fever is a reflection of the strength of the Chinese language, but there is still a long way to go to become a dominant language. For Chinese to become a dominant language, it can only rely on the peaceful development of China, the spread of Chinese influence, and its charm.

At the same time, with the enhancement of the international influence of the Chinese language, China's cultural dissemination ushered in a new opportunity. In the context of the international promotion of Chinese, China's relevant Departments must be clear about the direction and goal of cultural dissemination, attach importance to the international promotion of Chinese, adjust and optimize the overall cultural context of China, improve the overall value of China's culture, so as to better spread Chinese culture, and effectively spread it to the world, improve the influence of Chinese culture, and promote the diversity of world culture.

===References===

1. Yang Bohan 杨博涵. (2018). 世界汉语热背后的思考 [Reflections on the World Chinese Fever]. 《散文百家》 [Prose Hundred]（03）：152.

2. Zhou Lei 周磊. (2012). 增强中华文化国际影响力进程中的孔子学院发展研究 [A Study on the Development of Confucius Institutes in the Process of Enhancing the International Influence of Chinese Culture]. 《江西社会科学》 [Jiangxi Social Sciences]（04）：171-174.

3. Zhang Zhizhou 张志洲. (2006). “中国机会”：汉语热的背后 ["China Opportunity": Behind the Chinese fever]. 《世界知识》[World Knowledge]（11）：21-24.

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==
<center>'''The contradiction between language and mind'''</center>

<center>李欣</center>

===Abstract===
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.

===Key words===
Sapir-Wolf hypothesis; language and mind; linguistics

===Introduction===
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.

===Literature Review===
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking.

===An overview of language and mind===
1. The concept of language

Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.

2. The concept of mind

In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.

3. An overview of the relationship between language and mind

The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".

===Various famous ideas on the relationship between language and mind===
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.

1.Independence theory

From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.
2. Sequence theory

2.1 mind exists before language

This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.

2.2 Language exists before mind

The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans.
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.

3. Determinism

3.1 mind determines language

The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.

3.2 Language determines mind

The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.

4. Coexistence (the coexistence of language and mind)

4.1 Language cannot exist independently of mind

Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.

4.2 Mind cannot exist independently of language

Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.

===My view on the relationship between language and mind===
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.

===Conclusion===
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.
===References===
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp.
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社.
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社.
*施光，辛斌（2007（1））．语言·思维·认知－再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp.
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.

20220630 Classics 1

2022-07-06T06:14:56Z

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<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

===References===
*Guo Qingguang郭庆光. (2011). ''传播学教程（第二版）''[Communication Studies Course (2nd Edition]. 北京：中国人民大学出版社Beijing: China Renmin University Press, Page 4.

*Hu Zhengrong.胡正荣.(2017).''传播学概论''[Introduction to Communication Studies]. 北京：高等教育出版社Beijing: Higher Education Press, Page 19.

*Liu Yunhong.刘云虹.(2019).''葛浩文翻译研究''[Studies on Howard Goldblatt’s Translations].南京大学出版社 Nanjing University Press, Page 76.

*Meng Xiangchun.孟祥春.(2014).葛浩文论译者——基于葛浩文讲座与访谈的批评性阐释[Howard Goldblatt on Translators--A Critical Interpretation Based on Howard Goldblatt’s Lectures and Interviews].中国翻译Chinese Translators Journal, (03): 26.

*Wang Zuoliang. 王佐良.(1989).''翻译：思考与试笔''[Thinking and Practice on Translation].北京：外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press, Page 84.

*Yin Feizhou, Li Ying.尹飞舟、李颖. (2021).翻译传播主体控制效应解析———以当代中国文学作品英译出版为例[An Analysis of the Control Effect of Translational Communication Subjects---The Case of English Translation and Publication of Contemporary Chinese Literature]. 湖南师范大学社会科学学报 Journal of Social Science of Hunan Normal University, Page 76.

*Yin Feizhou, Yu Chengfa.尹飞舟、余承法. (2020).''翻译传播学论纲''[Outline of Translation Communication Studies]. 湘潭大学学报（哲学社会科学版），Journal of Xiangtan University(Philosophy and Social Science)2020(05)：170-176.

*Yin Feihzhou, Yu Chengfa and Deng Yingling.尹飞舟、余承法、邓颖玲. (2021).''翻译传播学十讲''[Ten Chapters of Translational Communication Studies]. 长沙：湖南师范大学出版社 Changsha: Hunan Normal University Press, Page 17 and 88.

*Zhang Shengxiang.张生祥.(2013).翻译传播学:理论建构与学科空间[Translation Communication: Theoretical Constructions and Disciplinary Space]. 湛江师范学院学报 Journal of Zhanjiang Normal College, (01):116.

*Zhuang Yichuan.庄绎传.(2015).''翻译漫谈''[On Translation].北京：商务印书馆Beijing: The Commercial Press, Page 76.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

[[File:Chart.png]]

It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

[[File:Stage Photo.jpg]]

4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
'''
6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

*Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences ''河北工业大学学报：社会科学版''.12(4):7.

*Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education ''教师教育学报''.10(005):128-132.

*Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies ''外国语文研究''.6(2):11.

*Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review ''小说评论''.(6):7.

*Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum ''北方论丛''.(4):8.

*Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments ''百家评论''.(2):8.

*Song Dan 宋丹.(2017). 铁凝作品在日本的译介与阐释[Translation and interpretation of Tie Ning's works in Japan]. Novel review ''小说评论''.(6):9.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

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

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

===References===
*Pan Jiayin潘佳音 . ''Cultural Value of Translation and its Contemporary Embodiment''翻译的文化价值及其当代体现[J]. Comparative Study of cultural Innovation文化创新比较研究,2020,4(3):110-111.
*Chen Jing陈靖. ''Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology''马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
*Liu Yang刘阳. ''On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching''威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
*Zhu Yishu祝一舒. ''On the Characteristics of Xu Yuanchong's Translation Thoughts''试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
*WXin Hongjuan辛红娟, Liu Yuanchen刘园晨. ''A Reinterpretation of Translation Meaning and Taste''金岳霖“译意”“译味”观再解读[J]. Journal of Ningbo University: Humanities宁波大学学报:人文科学版,2020,33(1):41-47.
*Xin Hongjuan辛红娟, Xu Wei徐薇. ''The Construction path of Chinese Translation Studies''中国翻译学的建构路径[N]. Guangming Daily光明日报, 2018-06-11(16)

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)
That is to say, if we want to develop cultural soft power, we must gather cultural strength internally and spread the cultural spirit externally.

===Methods===
This article mainly obtains information by investigating the literature and querying the information on the Internet, so as to comprehensively and correctly understand the theories related to the soft power of culture and the difficulties that may be encountered in Chinese classics. At the same time, the author will further analyze what she has learned and thought.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.(dangdang.com)
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. But it shows that all the translations with wide influence outside the region are mainly written by western missionaries or sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

*豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===
For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle.
Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life.
Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply.
This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

===Literature Review===
Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture.
Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

===Three Beauties Principle===
Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81）
The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions.
The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology.
Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

===Reflection of Beauty in Sense in Lin Yutang's translation ===
3.1.1 Choice of Words
In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words.
Chinese Version 1: 刺绣之暇，渐通吟咏。
English Version 1: Between her needlework, she gradually learned to write poetry.
Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text.
Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。
English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes.
The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers.
Original text 3: 秋侵人影瘦，霜染菊花肥。
English Version: Touched by autumn, one’s figure grows slender,
Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

===Reflection of Beauty in sound in Lin Yutang's translation===
In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm.
3.2.1 Rhythm
Original Text1: 清斯濯樱，浊斯濯足。
English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet.
This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme.
Original Text2: 曾经沧海难为水，除却巫山不是云。
English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed.
The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

===Reflection of Beauty in Form in Lin Yutang’s translation===
Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples.
Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？”
English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this.
Original Text2: 芸双目闪闪，听良久。
English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

===Conclusion===
From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese.
This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

===References===
*[1] Bassnett, Susan. Translation Studies (Third Edition) [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.
*[2] Bassnett, Susan and Andre Lefevere. Translation, History and Culture [C]. London and New York: Pinter Publishers, 1990.
*[3] Kramsch, Clair. Language and Culture[M]. London: Oxford University Press, 1965.
*[4] Lefevere, Andre. Translation, Rewriting, and the Manipulation of Literary Fame [M]. London and New York: Routledge, 1992.
*[5] M. H. Bornstein. The Influence of Visual Perception on Culture [J]. American Anthologist, 1995, 77(4): 774-798.
*[6] Newmark, Peter. Approaches to Translation [M]. Oxford: Pergamon Press, 1981.
*[7] Chen Fulani 陈福康. 中国译学理论史稿（修订本） [M]. 上海：上海外语教育出版社，2000.
*[8] Dong Hui, Guan Kuilin董晖. 管窥林语堂翻译作品中的用词特色[J]，辽宁工学院学报(6)81-82, 2004.
*[9] Fan Xiaoyan范小燕.从目的论看林语堂《浮生六记》英译本中的“变译”现象，湖南师范大学，2007.
*[10] Han Zhihua 韩志华.林语堂英译《浮生六记》的审美再现[D].河北师范大学，2007.3.
*[11] Liu Miqing 刘宓庆. 新编当代翻译理论[M]. 北京：中国对外翻译出版公司，2005.

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

[[File:hdhd jzjzj.jpg]]

===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
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*Ulrich Kautz 高立希.(2015).我的三十年——怎样从事中国当代小说的德译[My thirty years of translating contemporary Chinese novels and my relevant observations]. ''外语教学理论与实践'' Foreign Language Teaching | Fore Lang Teach(01),8-11+94.
*Ji Jin & Zhou Chunxia 季进 & 周春霞.(2015).中国当代文学在法国——何碧玉、安必诺教授访谈录[Contemporary Chinese Literature in France -- Interview with Professors Isabelle Rabut and Angel Pino]. ''南方文坛'' Southern Cultural Forum(06):37-43.
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*Liu Jiangkai 刘江凯.(2014).当代文学诧异“风景”的美学统一:余华的海外接受[The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance].''当代作家评论'' Review of Contemporary Writers(06),134-145.
*Qian Linsen 钱林森.(2000).中西方哲学命运的历史遇合——法籍华人学者、作家程抱一访谈[A Historical Meeting of the Destinies of Chinese and Western philosophy -- Interview with Mr.Francois Cheng, French Chinese scholar, and writer]. ''文艺争鸣'' Literature and Art Forum,102-109.
*Sun Guoliang & Li Bin 孙国亮 & 李斌.(2021).余华在德国的译介与接受研究[A Study of Yu Hu’s Translation and Acceptance in Germany]. ''小说评论'' Novel Review(04),147-156.
*Wang Liqian & Qian Hang 王立倩 & 钱航.(2020).余华小说海外传播特征研究[A Study on the Overseas Dissemination Characteristics of Yu Hua's Novels]. (eds.)''2020年社会发展论坛（西安）论文集'' Proceedings of 2020 Social Development Forum (Xi 'an) 128-136.
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==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

'''1.1The Eco-translatology Theory'''

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

'''1.1.1The Origin of Eco-translatology Theory'''

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

'''1.1.2 The Main Viewpoints of the Eco-translatology theory'''

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

'''1.2Eco-translation Method: Three-dimension Transformation'''

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

'''1.2.1Linguistic Dimension'''

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

'''1.2.2Cultural Dimension'''

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

'''1.2.3 Communicative Dimension'''

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

'''2.1 Characteristics of Mao Zedong's Poetry'''

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

'''2.1.1 Heroic Style'''

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

'''2.1.2 Abundant Allusions'''

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

'''2.2 Strategies in C-E Translation of Mao Zedong’s Poems'''

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

'''2.2.1 Domesticating Translation'''

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

'''2.2.2 Free Translation'''

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

'''3.1 Transformation at Linguistic Dimension'''

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

“Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

'''3.2 Transformation at Cultural Dimension'''

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”
夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

'''3.3 Transformation at Communicative Dimension'''

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of The Three-Body Problem abroad
===Abstract===
When it comes to China's literary in the past two years, one of the works that must be mentioned is the "The Three-Body Problem" trilogy by the famous Chinese science fiction writer Liu Cixin. In terms of its English edition alone, the first two installments of the trilogy have received widespread attention and acclaim from readers, mainstream media and professionals in the English-speaking world, especially in the United States.
This article explains the main reasons why the English translation of "The Three-Body Problem" is widely accepted in the United States from three aspects: the context of translation, the active role of the translation subject, and the translator's translation strategy. The study found that the improvement of China's international status, the vigorous development of Chinese science fiction literature, and the transformation of the American science fiction literature system have created a favorable context for the acceptance of "The Three-Body Problem" in the United States; Liu Yukun, a well-known publisher and translator, has played a necessary role in promoting the entry of "The Three-Body Problem" into the American science fiction literature system with their respective capitals; The translator Liu Yukun generally focused on retaining the original text of his opposite sex, but also took into account the readability of the translation with the help of sub-texts and other means, making the translation a practical Journey of Chinese science fiction in the United States.

===Key Words===
Key Words: The Three-Body Problem, Liu Cixin, Liu Yukun, science-fiction, Translation strategy

===Introduction===
Chinese Science fiction began in the late Qing Dynasty and the early Republic of China, which has one hundred years of history. As a product of industrial civilization, science fiction is a type of literature that is the only one never seen in traditional Chinese literature ( Han Song 2010). It means that science fiction translation is to provide nutrients for local Chinese science fiction literature but also witnessed it from sprout to development. At present, Chinese science fiction and its translation have entered a new turning point: Since 2012, The Clarkesworld Magazine, an authoritative American science fiction magazine, has regularly published Chinese science fiction works. In 2015, Liu Cixin became the first Asian writer to win the 73rd Hugo Award for Best Novel for his three-body series. In 2016, Hao Jingfang won the 74th Hugo Award for Best Short story with Folding Beijing, which shows that the translation of Chinese local science fiction has become a phenomenon worthy of attention. Existing literature shows that although many scholars in China pay attention to the translation of science fiction, it focuses on the single direction of English translations, and rarely discusses the situation of external translation.
The English version of Three-Body includes The three-body Problem, The Dark Forest, and Death s End. The Three-body Problem was published in the US on November 11, 2014, and in the UK and Australia successively in June 2015. According to statistics, by the end of June 2016, the global cumulative circulation of The Three-body problem has exceeded 160,000 copies (including hardcover books, paperback books, e-books, and audiobooks). In the sales volume of only thousands of “go global” Chinese-translated literary works, the performance of The Three-body Trilogy can undoubtedly be described as amazing.
It is difficult to reveal the multiple motivations and variables influencing the fate of translation from the perspective of language text alone. After all, the cross-cultural communication of a literary work is a complex activity, and the production, dissemination and acceptance of translation are restricted by various factors inside and outside the text The specific context in which translation takes place is an important basis for interpretation of translation activities, the dynamic role of translation subject is an important factor affecting the fate of translation in the target country, and the appropriate translation strategy is an important condition to ensure the smooth acceptance of translation If can, therefore, is to focus on the translation of internal at the same time, taking into full consideration the context of translation activity occurs, and the main translation subject role, can help us more reliable conclusions In view of this, this article will examine the translation context of three-body the active role of translation subjects and the translation strategies of the translator, as much as possible in order to comprehensively and objectively Three-body. The main reason why English translation is actively accepted in the United States will be further analyzed.

===Literature Review===
Liu Cixin is one of the representative writers of Chinese science fiction. After "The Three-Body Problem" won the Hugo Award, science fiction received huge attention in China for a while. However, the number of domestic academics for him is relatively small, and the translation of his works is also quite limited. Among them, Chen Fangrong of Zhejiang Normal University believes that "the successful acceptance of the Three-Body Problem in the United States will have an important role in promoting the translation of genre literature." From the perspective of reader evaluation, it is pointed out that the strategies and methods that Chinese literature can adopt in the process of translation and introduction. (Chen Fangrong, 2017) Gu Yiqing of Shanghai University of Foreign Chinese believes that "many parties take the initiative to introduce all aspects of translation so that translation works can enter the market-oriented operation process and effectively expand communication channels; The literary and ideological nature of the work itself, which fully has cross-cultural universal value, constitutes the fundamental motivation for successful translation. (Gu Yiqing, 2017) While foreign research on Chinese science fiction and the Three-Body Problem is blank, relevant papers are difficult to find.

===The Context===
Translation activities are always conducted in a particular space-time context, and non-contextualized interpretations cannot explain why translation activities take place. The only way to arrive at a logical interpretation is by situating the translation activity within the specific context in which it occurs and by recognising the context's complexity in its entirety. There are broad and specific context categories, namely the three-body body. From a macro perspective, China has made remarkable advancements in multiple fields over the past several decades. The world is curious about the current situation in China. Exploring a variety of subjects and genres of Chinese literature abroad is enhanced by reading literary works. It has become an essential tool for constructing China's image abroad. When deciding whether to publish the three-body problem, for instance, Tor Books editor Liz Gorinsky relied on the fact that American readers are currently interested in and curious about China.“ ... Three-Body was a great book completely aside the translation story, or, failing that, that people would be specifically interested in Three-Body because we’re in a moment where Americans are very curious about China’s role in the global cultural landscape, but genuine cultural artifacts from China are still relatively thin on the ground, so this book could potentially appeal to many of those cultural tourists.” (O 'Neill 2015).
The Three-Body Problem entered the United States after a translation from the original cultural context to the new heterogeneous cultural context of cross-cultural practise. To explain this practise, we need only consider context translation activities and context translation activities. In other words, it is necessary to investigate Chinese science fiction literature in the context of how to break out of conditions and the American science fiction literary world's attitude toward the genre. This pertains to the evolution and current state of the respective science fiction literature, or the position of multivariate system science literature in the literature of China and the United States, as well as the interaction between the two, but also the status of literature translation within the target literature system. In addition, as a subgenre of literature, science fiction literature is distinctive, so it frequently forms a subsystem distinct from the larger literary system. Therefore, in comparison to the overall literary system of the nation whose language is the target, Acceptance of The Three-Body problem in foreign countries is contingent upon the status quo of the sub-system of science fiction literature in the target country and the status of science fiction literature in the literary system of the target country. Therefore, it is recommended to investigate the position of Chinese and American science fiction literature within their respective literary systems, as well as the position of translated literature within the American literary system.

Due to the interference of various parties, science fiction literature has lacked a loose and free growth environment for a long time and often fails to develop science popularisation according to its own rules. The primary objective of science fiction literature has been recognised for a very long time. During the 1950s, science fiction was also considered a subgenre of children's literature. In 1983, science fiction was viewed as “poisonous grass”, leading to the closure of all science fiction magazines besides science and art. By the turn of the century, Chinese science fiction literature had gradually regained its independence and was no longer burdened by the purpose of introduction of science to the public. As a result, a number of influential science fiction authors have emerged, including Liu Cixin, Han Song, Wang Jin Kang, etc. Besides, Chen Qiufan, Bao Shu, Xia Jia, and other young writers have made a name for themselves and emerged as a new power in the field of science fiction in China. In other words, around the turn of the century, science fiction literature regained its legal status in the Chinese literature system, which directly promoted the prosperity of science fiction literature creation, and contemporary Chinese science fiction literature presented a scene of robust development. On the other hand, many writers were desperate post their own works abroad, a communication with the world’s science fiction. City of Cats written by Lao She was translated by James E. Dew and then published in the United States in 1964. As mentioned before, The Clarkesworld Magazine has regularly published Chinese science fiction works since 2012. Before the arrival of the three-body English translation, American readers had already accepted Chinese science fiction literature to certain extent. On the other hand, as stated previously, The fate of the three bodies entering the United States and the status of science fiction in the American literature study system. Current state of the subsystem and American science fiction literature are inextricably linked. The development of science fiction literature is closely tied to the development of science and technology. Since the United States is the most advanced nation in science and technology since World War II, American science fiction creation is thriving, and American literature holds a prominent place in the system. According to Even-Zohar’s Polysystem theory, there are three major cases when translated literature occupies the primary position: (1) when a “young” literature is being established and looks initially to more established literatures for ready-made models. (2) when a literature is “peripheral” or “weak” and it imports those literary types which it is lacking. (3) when there is a critical turning point in literary history at which established models are no longer considered sufficient, or when there is a vacuum in the literature of the country. Thus, due to the shortage of its own supply, the creation of American science fiction literature is at a turning point. Although the translation of science fiction literature from other countries may not occupy the core position in the American science fiction literature system, the resistance they face when entering the system will be greatly reduced.

===The publisher and capital accumulation of the translator===
The world is focused on China's economic growth, which affords The Three-Body Problem favourable conditions to enter the United States.

In terms of the nature of its copyright trading business, China Educational Publication Import & Export Corporation acts as a literary agent. The publication of the "three-body" trilogy is operated by the export comprehensive department of China Educational Publication Import & Export Corporation. Before deciding on the topic of the translation, the corporation needs to examine and evaluate the literary value, market value and cultural transmission power of the works. To determine whether a literary work qualifies as a part of "go global" strategy, one must first examine the literary value of the book. At the same time, if you want to pursue commercial goals, the market value is also very important. In addition to, cultural communication power is the extension of value of a book, concerning the spread of social and commercial benefits, and also a deciding factor for initiators. From the above three points, under the strict standards for domestic related works screening, China Educational Publication Import & Export Corporation, finally selected and signed contracts on domestic outstanding science fiction writer's works, including the "three body" trilogy.

According to Pierre Bourdieu, there are three kinds of capitals that are often recognized as a part of the society, the Economic capital, which refers to the control one has on the economic resources available in the society (money, property, etc.) Social capital refers to the social networks that one has acquired and Cultural capital, these are the assets that one possesses which help them climb up the social ladder.

First, Tor Books, which is responsible for the publication of The Three-Body Problem in the United States, enjoys a high reputation in the American science fiction literary community, and has been named the best science fiction publishing house for 20 consecutive years. This company has published many works by Hugo Award and Nebula Award winners. The social and cultural capital accumulated by Tor Books for a long time has laid the necessary foundation for the smooth entry of The Three-Body Problem into the American market. For readers, books favored by such a publishing house are worth looking forward to. On the other hand, Tor also used its own connections to invite well-known American science fiction writers such as Kim Stanley Robinson to write book reviews for The Three-Body Problem in influential publications such as The New York Times, The Wall Street Journal, and Publishers Weekly, thus improving the Three-Body Problem’s popularity.

In addition to choosing the best works, China Educational Publication Import & Export Corporation has strict standards on translation. This model of translation has three distinct characteristics. First, select the highest level of the translator. When choosing translators, the company preferred Sinologist, than foreign translators who are proficient in Chinese and majored in related areas. Those who have studied in European or American countries, or Chinese who have a high level of English can hardly be admitted.

Translator Liu Yukun's capital accumulation is an important factor in the success of "The Three-Body Problem" in the United States. Generally speaking, the cultural capital of translators mainly includes excellent bilingual ability, full cross-cultural awareness, past translation experience and familiarity with related fields, etc. For the translation of "The Three-Body Problem", Liu Yukun has unique advantages in the above aspects.

Born in China in 1976, Liu Yukun moved to the United States at the age of 11, majoring in English literature and law at Harvard University. Currently, he works as a programmer and lawyer in Boston and writes science fiction in his spare time. He won the 2012 Hugo Award and the Nebula Award for Best Short Story for his novel The Paper Menagerie, and the 2013 Hugo Award for Best Short Story for his novel Mono no aware. In addition to science fiction creation, Liu Yukun is also a "bridge maker" of Chinese and Western science fiction literature, translating many Chinese science fiction works into English. He won the 2012 Science Fiction and Fantasy Translation Awards for his translation of "The Fish of Lijiang". As a well-known science fiction writer, Liu Yukun has undoubtedly made the English version of "The Three-Body Problem" attract more attention from overseas markets.

As a science fiction writer who has won the Hugo and Nebula Awards, Liu Yukun is the best choice for translating "The Three-Body Problem" in terms of language quality and professionalism. It has been proved true that in the purchase page of Amazon's English website "The Three-Body Problem", about half of the readers' comments on the work mentioned Liu Yukun's translation, and many readers thought that its translation is natural and fluent. It’s hard to believe that it is a translated work. The translation helped propel the series to global fame; Martin, who wrote the novels that were adapted into HBO's "Game of Thrones," praised it as "a breakthrough book" and "a worthy nominee" of the Hugo Award. (CNN)
Joel Martinsen, the translator of "The Dark Forest", although neither a Chinese nor a science fiction writer, has a solid foundation in Chinese and English. He has read a large number of science fiction works and read all Chinese science fiction works since 2000, and many of the works he mentioned have not even been read by Liu Cixin. It is this high level of translators who ensures the high quality of the translations of the Trilogy.

===Translation Strategy===

The Three-Body Problem can cross the national boundary, enter into the American literary system, and obtain authoritative comments and widespread recognition of the public, which is closely related to the American literary system and the literary capital of the translation. The status quo of American science fiction literature and the upsurge of Chinese translated literature construct the favourable social space, and give the positive impetus to this book. The cultural capital and symbolic capital of translators ensure the literary value and beliefs, effectively boosting the spread of translation in target countries. However, if a translation wants to “go global”, it has to maintain an active presence in the target country, and is universally recognized by the target readers. Thus, reads can continue reading and even have the impulse to recommend to others, which involves the translation strategy and readers' reaction to this translation strategy.

Let's take a look at the translation strategy of translator Liu Yukun. A more reliable observation for examining translation strategies is the translator's retention and change of cultural-loaded words and cultural image, because the translation of cultural-loaded words or cultural image is less subject to external interference, and mainly depends on the translator. Thus, we will take the translation of the original culturally specific items or image discourses as the object of investigation to identify the translation strategy of "The Three-Body Problem".

Before translating "The Three-Body Problem", Liu Yukun already had many years of translation experience. “ Many who advocate a translation that reads as though it were written in English in the first place subscribe to this philosophy. I disagree. For me, much of the joy of reading a translation is in hearing an echo of the original, in seeing English used in a way that suggests the rhythms and worldviews of another language.” (Ken 2013).

For example, he did not convert“惊蛰”,“大暑”,“寒露” and“冬至” into “March 5th,” “July 23rd,” “October 8th,” and “December 21st.” but translated them into “Awakening of Insects”, “Major Heat”,“Cold Dew” and“Winter Solstice”. He explained, “This choice meant that the English reader must work harder to figure out the time of year by contextual clues, but the names also give the reader a better sense of how the Chinese calendar is tied to the cycles and movements of the natural world, to the demands and rhythms of the agricultural life. I believe the decision enhances the story’s portrayal of a (seemingly) pastoral, idealized life constructed from elements of pre-modern Chinese village traditions.”( Ken 2013)
He translated “投鼠忌器” into “just like how one wouldn’t throw a shoe at a mouse sitting beside an expensive vase” instead of an English idiom “those who live in glass houses should not throw stones”. He refused to use a cliché to translate another cliché but chose an expression which shows the characteristic of source language. It can help the English reader to know something about the source culture and language.

Due to the background of the Cultural Revolution, The Three-Body Problem contains a large number of words in the period, and there is no equivalent in the translated language. Liu Yukun fully respects the differences of the original text when translating such words, and insists on being a faithful translator. Most of the cultural image in the original text has been retained.
“The obvious difficulties, such as differences in linguistic structure and cultural references, are actually relatively easy to resolve.The Three-Body Problem begins with the Cultural Revolution, and there are numerous allusions to Chinese history. I’ve tried to keep the number of explanatory footnotes to a bare minimum by, wherever possible, filling in the necessary knowledge for non-Chinese readers by the judicious addition of a few informational phrases in the text (all approved by the author).”( Ken 2014a)

Translator applied transliteration in some cultural image in Chinese without any annotation. For example, “大刀”( dadao) ,“馒头”( mantou) ,“屯”( tun) , “炕”( kang) and “旗袍”( qipao) .
Translator applied literal translation in words and phrases related to the Cultural Revolution. For instance, “知青”-“educated youth”, “大字报”-“big-character poster”, “黑五类”-“Five Black Categories” and “牛棚”-“cowshed”.
In addition, for those phrases in the original work that are already familiar to the target readers and have the so-called "equivalent items" in the translated language, Liu Yukun does not use them directly, but strives to eliminate the meaning of these words being added in cross-cultural travel, and try to restore their original appearance.

One typical example is the translation of “中山装” in Death’s End. The common translation of “中山装” is “ Mao suit” but Liu Yukun translated it into “Zhongshan suit”. He explained in the annotation“This style of Chinese tunic suit is usually known in the West as the “Mao suit.” I’ve chosen to use a literal translation of the Chinese term to avoid unintended connotations. ”

If we do some research, we will find that these kind of changes are not trival. Encyclopedia of Contemporary Chinese Culture is a book that introduces Chinese culture published by Routledge. In this book, the introduction of “Mao suit” is “The Mao suit (maozhuang) thus symbolized revolutionary tradition, militarization of society, and revolutionary asceticism. It dominated the sartorial landscape of the 1960s and reached its height in the Cultural Revolution. Subtle differences in the Mao suit differentiated the population: peasants and workers wore indigo blue Mao jackets; People’s Liberation Army soldiers donned khaki green; and Party cadres sported grey barathea—thus ensuring, paradoxically, that uniformity maintained hierarchical difference even while advocating egalitarian ideals.”( Edward 2005: 522) It can be seen that "Zhongshan Suit" is given additional associative meaning in cross-cultural travel, and the encyclopedic interpretation will allow readers to accept the excessive interpretation of "Mao suit" and cultural associations as knowledge. Liu Yukun's defamiliarization translation r will allow the target reader to stay in the literal itself, change the inherent cognition of this cultural-loaded word, and activate the target reader's re-understanding and re-association.

Liu Yukun's application of foreignization is indeed conducive to preserving the original style, but the ultimate realization of the value of the translation depends on the acceptance of target readers. The reader's reading experience is an important factor to consider to achieve this goal, which requires the translator to take into account the acceptability of the translation, and the sub-text is often an effective means to improve the acceptability of the translation (Geng Qiang 2016). The English translation of "The Three-Body Problem" is no exception: while preserving differences, Liu Yukun uses multiple languages and literary means such as supplementing sub-texts to enhance the readability of the translation.

First of all, on the title page of "The Three-Body Problem", he added a table of character relationships that were not in the original work to help readers smoothly understand the translation. In the tongue of the translated book, a guide to the content of the whole book has been added, briefly describing the background of the story and the general direction of the development of the story, so as to clarify the narrative logic of the novel. The introduction does not reveal the entire plot, but it abruptly ends with an engaging sentence. Adding annotations is Liu Yukun's main strategy for using sub-texts to enhance the readability of the translation. As mentioned earlier, there are more special expressions of the Cultural Revolution in "The Three-Body Problem", and if these expressions are omitted and not translated, the meaning and artistic effect of the work will inevitably be reduced; if it is simply translated literally, it will increase the reader's burdens to understanding. Therefore, in order to help the reader understand, the translator adds the necessary annotations to the translation.
Lei Zhicheng, one of the leaders of the "Red Bank" project in the original book, said when talking about the difficulty of finding researchers.
Example: 找到的两个合适的候选人宁肯待在五七干校也不来。(刘慈欣 2008: 82)
Translation: I did find two possible candidates，but both would rather stay at the May Seventh Cadre Schools rather than come here．( Ken 2014a: 44)
As the existence of a special era, “五七干校(the May Seventh Cadre Schools)” is undoubtedly very strange to most readers outside the country. However, in the above quotation and even in the whole work, “the May Seventh Cadre Schools” is of great significance. If omitted without translation, it will inevitably damage the original meaning; if it is simply translated without explanation, the target readers will inevitably feel confused: Why does the author want to highlight the fact that researchers are hard to find by saying that he would rather stay in the May Seventh Cadre Schools?
Therefore, in order to let the reader understand the logic, the translator chooses to add comments in addition to the literal translation: “The May Seventh Cadre Schools were labor camps during the Cultural Revolution where cadres and intellectuals were“re-educated.” ( Ken 2014a: 44) In this way, the multiple layers of meaning of the text are fully conveyed, and the reader is not trapped in a strange and confused reading experience.

Take another example of “二锅头”. Liu Yukun translated it into “er guo tou” with an annotation: “Er guo tou is a distilled liquor made from sorghum, sometimes called ‘Chinese vodka’.” Here the translator compares “er guo tou” to “vodka”, so that it produces the same rich and similar cultural meaning as vodka--a long history, cheap price, the favorite of the lower class of society, reflecting the identity of the drinker (the lower class of society) or a certain emotion (such as nostalgia, homesickness, etc.). Therefore, the reader not only removes the exotic strangeness of the "er guo tou" through the existing cognition of vodka, but also retains the heterosexuality of the "er guo tou" in the text through the form of a sub-text.

It is worth mentioning that, The Three-body Problem was first appeared as the serial publication in Science Fiction World magazine in 2006, but when it was published in 2008, the background of the cultural Revolution story, originally located in the opening chapter, was disassembled and moved to the middle part of the book. The English version is arranged in strict accordance with the sequence of the series, and the content of the Cultural Revolution, which serves as the background of the story, is explained at the beginning. This change can help readers who do not know much about Chinese history to understand. The translator's efforts to enhance the acceptability of the translation have received a good result. Amazon in the United States has more than 1400 reader comments, with a rating rate of above four stars reaching 77%, among which the rating rate of five stars is close to 60%.

In summary, the translator Liu Yukun pays attention to the preservation of the cultural image of the "Three-Body Problem", strives to convey the heterogeneity of the source language culture, and strives to paste the style of the original text. This translation method helps to better reproduce the artistic charm of the original work, so that the translation can see through the light and color of the original work; But at the same time, it also puts forward higher requirements for readers, so translators also provide readers with the necessary background knowledge with the help of sub-text means such as annotations, helping them to understand the text more fully and effectively, and controlling the heterogeneity of language within the acceptable range of mainstream poetic norms. This practice of retaining his opposite sex while taking into account readability allows the unique characteristics of the original work to be reproduced, and at a large degree, the English language bursts out of the strange power and fresh texture full of sparks, challenges and delights the readers with an imaginative impact, brings them to the distant coast and strange horizon, and embarks on a journey of Chinese science fiction.

===Conclusion===

Translation research must have a historical perspective and be carried out on the basis of full contextualization. We give full consideration to influence all aspects of the translation process and results, including all aspects of translation activities happened here context as well as the active function of translation subject In this paper, from two aspects: the text inside and outside of three body It is found that the promotion of China's international status, the vigorous development of Chinese science fiction literature and the transformation of American science fiction literature system have created a favorable context for the acceptance of the three-body problem in The United States. Famous publishing house and translator Liu Yukun played a necessary role in promoting The Three-Body Problem to enter the American science fiction literature system with their own capital.

Although literary works such as "The Three-Body Problem" have distinct and unique regional and national cultural imprints, this heterosexuality is precisely where the value and strength of Chinese literary texts themselves lie, and then through the translation and introduction of texts, humanistic feelings and aesthetic spaces that transcend historical situations and regional boundaries are formed, so that English readers can understand, appreciate and identify with the fascinating science fiction world in the original works.

===References===
Bourdieu，P． The forms of capital［C］/ /Ｒichardson，J． G． Handbook of Theory and Ｒesearch for the Sociology of Education． New York: Greenwood Press，1986．
Even-Zohar，Itamar． The position of translated literature within the literary polysystem［J］． Poetics Today， 1990，( 1) : 45 － 51．
Ken，L． Gathered in Translation ［J/OL］． Clarkesworld，［2013 － 04］． http: / /clarkesworldmagazine． com/liu_ 04_13．
Ken，L． The Three-Body Problem［M］． New York: Tor Books，2014a．
Ken，L． Death’s End ［M］． New York: Tor Books，2016.
O’Neill，J． Cixin Liu the Superstar: How Taking a Ｒisk on a Chinese Author Paid Off Big For Tor［EB/OL］． https: / /www． blackgate． com/2015 /09 /04 /cixin-liu-the-superstar-how-taking-a-risk-on-a-chinese-author-paid- off-big-for-tor/．
耿强 Geng Qiang．翻译中的副文本及研究: 理论、方法、议题与批评 [Paratext in Translation and Translation Studies: Perspectives,Methods,Issues and Criticism].［J］．外国语( 上海外国语大学学报)Journal of Foreign Languages，2016，39 ( 5): 104 － 112．
顾忆青 Gu Yiqing.科幻世界的中国想象:刘慈欣《三体》三部曲在美国的译介与接受 [Chinese Imagination in the World of Science Fiction: Translation and Reception of Liu Cixin's Three-Body Trilogy in The United States].[J].东方翻译East Journal of Translation,2017(01):11-17.

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

20220630 Classics 1

2022-07-06T06:10:10Z

Li Yijia: /* 英语笔译黎溢佳 Li Yijia 202170081573 CE */

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==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

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==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
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==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

[[File:Chart.png]]

It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

[[File:Stage Photo.jpg]]

4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
'''
6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

*Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences ''河北工业大学学报：社会科学版''.12(4):7.

*Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education ''教师教育学报''.10(005):128-132.

*Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies ''外国语文研究''.6(2):11.

*Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review ''小说评论''.(6):7.

*Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum ''北方论丛''.(4):8.

*Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments ''百家评论''.(2):8.

*Song Dan 宋丹.(2017). 铁凝作品在日本的译介与阐释[Translation and interpretation of Tie Ning's works in Japan]. Novel review ''小说评论''.(6):9.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

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

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

===References===
*Pan Jiayin潘佳音 . ''Cultural Value of Translation and its Contemporary Embodiment''翻译的文化价值及其当代体现[J]. Comparative Study of cultural Innovation文化创新比较研究,2020,4(3):110-111.
*Chen Jing陈靖. ''Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology''马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
*Liu Yang刘阳. ''On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching''威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
*Zhu Yishu祝一舒. ''On the Characteristics of Xu Yuanchong's Translation Thoughts''试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
*WXin Hongjuan辛红娟, Liu Yuanchen刘园晨. ''A Reinterpretation of Translation Meaning and Taste''金岳霖“译意”“译味”观再解读[J]. Journal of Ningbo University: Humanities宁波大学学报:人文科学版,2020,33(1):41-47.
*Xin Hongjuan辛红娟, Xu Wei徐薇. ''The Construction path of Chinese Translation Studies''中国翻译学的建构路径[N]. Guangming Daily光明日报, 2018-06-11(16)

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)
That is to say, if we want to develop cultural soft power, we must gather cultural strength internally and spread the cultural spirit externally.

===Methods===
This article mainly obtains information by investigating the literature and querying the information on the Internet, so as to comprehensively and correctly understand the theories related to the soft power of culture and the difficulties that may be encountered in Chinese classics. At the same time, the author will further analyze what she has learned and thought.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.(dangdang.com)
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. But it shows that all the translations with wide influence outside the region are mainly written by western missionaries or sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

*豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===
For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle.
Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life.
Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply.
This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

===Literature Review===
Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture.
Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

===Three Beauties Principle===
Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81）
The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions.
The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology.
Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

===Reflection of Beauty in Sense in Lin Yutang's translation ===
3.1.1 Choice of Words
In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words.
Chinese Version 1: 刺绣之暇，渐通吟咏。
English Version 1: Between her needlework, she gradually learned to write poetry.
Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text.
Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。
English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes.
The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers.
Original text 3: 秋侵人影瘦，霜染菊花肥。
English Version: Touched by autumn, one’s figure grows slender,
Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

===Reflection of Beauty in sound in Lin Yutang's translation===
In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm.
3.2.1 Rhythm
Original Text1: 清斯濯樱，浊斯濯足。
English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet.
This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme.
Original Text2: 曾经沧海难为水，除却巫山不是云。
English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed.
The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

===Reflection of Beauty in Form in Lin Yutang’s translation===
Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples.
Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？”
English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this.
Original Text2: 芸双目闪闪，听良久。
English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

===Conclusion===
From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese.
This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

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==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

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===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
*Chen Daling & Xu Duo 陈大亮 & 许多.(2018).英国主流媒体对当代中国文学的评价与接受[The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media]. ''小说评论'' Novel Review(04),153-161.
*Hang Ling & Xu Jun 杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介[Different Interpretations and Acceptance of Yu Hua’s Brothers in The Context of French Culture]. ''文艺争鸣'' Literature and Art Forum (07),131-137.
*Hang Ling 杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体[Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media]. ''小说评论'' Novel Review(05),67-74.
*Ulrich Kautz 高立希.(2015).我的三十年——怎样从事中国当代小说的德译[My thirty years of translating contemporary Chinese novels and my relevant observations]. ''外语教学理论与实践'' Foreign Language Teaching | Fore Lang Teach(01),8-11+94.
*Ji Jin & Zhou Chunxia 季进 & 周春霞.(2015).中国当代文学在法国——何碧玉、安必诺教授访谈录[Contemporary Chinese Literature in France -- Interview with Professors Isabelle Rabut and Angel Pino]. ''南方文坛'' Southern Cultural Forum(06):37-43.
*Lan Bo 蓝博.(2020).中国现当代文学在西班牙的译介研究[A Study on the Translation and Introduction of Modern and Contemporary Chinese Literature in Spain]. ''对外传播'' International Communications(12),43-47.
*Li Chunyu 李春雨.(2021).《文城》：余华对“人”的又一次叩问[Wen Cheng: Yu Hua Once Again Asks about People]. ''文艺争鸣''Literature and Art Forum (12),142-147.
*Liu Jiangkai 刘江凯.(2014).当代文学诧异“风景”的美学统一:余华的海外接受[The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance].''当代作家评论'' Review of Contemporary Writers(06),134-145.
*Qian Linsen 钱林森.(2000).中西方哲学命运的历史遇合——法籍华人学者、作家程抱一访谈[A Historical Meeting of the Destinies of Chinese and Western philosophy -- Interview with Mr.Francois Cheng, French Chinese scholar, and writer]. ''文艺争鸣'' Literature and Art Forum,102-109.
*Sun Guoliang & Li Bin 孙国亮 & 李斌.(2021).余华在德国的译介与接受研究[A Study of Yu Hu’s Translation and Acceptance in Germany]. ''小说评论'' Novel Review(04),147-156.
*Wang Liqian & Qian Hang 王立倩 & 钱航.(2020).余华小说海外传播特征研究[A Study on the Overseas Dissemination Characteristics of Yu Hua's Novels]. (eds.)''2020年社会发展论坛（西安）论文集'' Proceedings of 2020 Social Development Forum (Xi 'an) 128-136.
*Wang Kna & Cai Lijuan 王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑[''Brothers'' in the French-speaking world -- French Book Review Translation miniseries]. ''文艺争鸣'' Literature and Art Forum(02),117-122.
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*Yu Hua 余华：必须忘掉以前的小说才可能写出新的小说[必须忘掉以前的小说才可能写出新的小说]_Retrived June 6th 2022 from 中国作家网 (chinawriter.com.cn)
*Yang Ping 杨平.(2019).余华作品在欧美的传播及汉学家白亚仁的翻译目标[The Dissemination of Yu Hua's Works in the West and Allan H.Barr's Translation Goals]. ''翻译研究与教学'' Translation studies and Teaching(01),49-59.
*Baus, Wolf (2000). Yu Hua-Der Mann，der sein Blut verkaufte，in：Hefte für ostasiatische Literatur，Heft 29. München：Iudicium Verlag，S. 164

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

'''1.1The Eco-translatology Theory'''

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

'''1.1.1The Origin of Eco-translatology Theory'''

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

'''1.1.2 The Main Viewpoints of the Eco-translatology theory'''

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

'''1.2Eco-translation Method: Three-dimension Transformation'''

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

'''1.2.1Linguistic Dimension'''

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

'''1.2.2Cultural Dimension'''

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

'''1.2.3 Communicative Dimension'''

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

'''2.1 Characteristics of Mao Zedong's Poetry'''

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

'''2.1.1 Heroic Style'''

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

'''2.1.2 Abundant Allusions'''

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

'''2.2 Strategies in C-E Translation of Mao Zedong’s Poems'''

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

'''2.2.1 Domesticating Translation'''

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

'''2.2.2 Free Translation'''

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

'''3.1 Transformation at Linguistic Dimension'''

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

“Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

'''3.2 Transformation at Cultural Dimension'''

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”
夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

'''3.3 Transformation at Communicative Dimension'''

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
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*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

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==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of The Three-Body Problem abroad
===Abstract===
When it comes to China's literary in the past two years, one of the works that must be mentioned is the "The Three-Body Problem" trilogy by the famous Chinese science fiction writer Liu Cixin. In terms of its English edition alone, the first two installments of the trilogy have received widespread attention and acclaim from readers, mainstream media and professionals in the English-speaking world, especially in the United States.
This article explains the main reasons why the English translation of "The Three-Body Problem" is widely accepted in the United States from three aspects: the context of translation, the active role of the translation subject, and the translator's translation strategy. The study found that the improvement of China's international status, the vigorous development of Chinese science fiction literature, and the transformation of the American science fiction literature system have created a favorable context for the acceptance of "The Three-Body Problem" in the United States; Liu Yukun, a well-known publisher and translator, has played a necessary role in promoting the entry of "The Three-Body Problem" into the American science fiction literature system with their respective capitals; The translator Liu Yukun generally focused on retaining the original text of his opposite sex, but also took into account the readability of the translation with the help of sub-texts and other means, making the translation a practical Journey of Chinese science fiction in the United States.

===Key Words===
Key Words: The Three-Body Problem, Liu Cixin, Liu Yukun, science-fiction, Translation strategy

===Introduction===
Chinese Science fiction began in the late Qing Dynasty and the early Republic of China, which has one hundred years of history. As a product of industrial civilization, science fiction is a type of literature that is the only one never seen in traditional Chinese literature ( Han Song 2010). It means that science fiction translation is to provide nutrients for local Chinese science fiction literature but also witnessed it from sprout to development. At present, Chinese science fiction and its translation have entered a new turning point: Since 2012, The Clarkesworld Magazine, an authoritative American science fiction magazine, has regularly published Chinese science fiction works. In 2015, Liu Cixin became the first Asian writer to win the 73rd Hugo Award for Best Novel for his three-body series. In 2016, Hao Jingfang won the 74th Hugo Award for Best Short story with Folding Beijing, which shows that the translation of Chinese local science fiction has become a phenomenon worthy of attention. Existing literature shows that although many scholars in China pay attention to the translation of science fiction, it focuses on the single direction of English translations, and rarely discusses the situation of external translation.
The English version of Three-Body includes The three-body Problem, The Dark Forest, and Death s End. The Three-body Problem was published in the US on November 11, 2014, and in the UK and Australia successively in June 2015. According to statistics, by the end of June 2016, the global cumulative circulation of The Three-body problem has exceeded 160,000 copies (including hardcover books, paperback books, e-books, and audiobooks). In the sales volume of only thousands of “go global” Chinese-translated literary works, the performance of The Three-body Trilogy can undoubtedly be described as amazing.
It is difficult to reveal the multiple motivations and variables influencing the fate of translation from the perspective of language text alone. After all, the cross-cultural communication of a literary work is a complex activity, and the production, dissemination and acceptance of translation are restricted by various factors inside and outside the text The specific context in which translation takes place is an important basis for interpretation of translation activities, the dynamic role of translation subject is an important factor affecting the fate of translation in the target country, and the appropriate translation strategy is an important condition to ensure the smooth acceptance of translation If can, therefore, is to focus on the translation of internal at the same time, taking into full consideration the context of translation activity occurs, and the main translation subject role, can help us more reliable conclusions In view of this, this article will examine the translation context of three-body the active role of translation subjects and the translation strategies of the translator, as much as possible in order to comprehensively and objectively Three-body. The main reason why English translation is actively accepted in the United States will be further analyzed.

===Literature Review===
Liu Cixin is one of the representative writers of Chinese science fiction. After "The Three-Body Problem" won the Hugo Award, science fiction received huge attention in China for a while. However, the number of domestic academics for him is relatively small, and the translation of his works is also quite limited. Among them, Chen Fangrong of Zhejiang Normal University believes that "the successful acceptance of the Three-Body Problem in the United States will have an important role in promoting the translation of genre literature." From the perspective of reader evaluation, it is pointed out that the strategies and methods that Chinese literature can adopt in the process of translation and introduction. (Chen Fangrong, 2017) Gu Yiqing of Shanghai University of Foreign Chinese believes that "many parties take the initiative to introduce all aspects of translation so that translation works can enter the market-oriented operation process and effectively expand communication channels; The literary and ideological nature of the work itself, which fully has cross-cultural universal value, constitutes the fundamental motivation for successful translation. (Gu Yiqing, 2017) While foreign research on Chinese science fiction and the Three-Body Problem is blank, relevant papers are difficult to find.

===The Context===
Translation activities are always conducted in a particular space-time context, and non-contextualized interpretations cannot explain why translation activities take place. The only way to arrive at a logical interpretation is by situating the translation activity within the specific context in which it occurs and by recognising the context's complexity in its entirety. There are broad and specific context categories, namely the three-body body. From a macro perspective, China has made remarkable advancements in multiple fields over the past several decades. The world is curious about the current situation in China. Exploring a variety of subjects and genres of Chinese literature abroad is enhanced by reading literary works. It has become an essential tool for constructing China's image abroad. When deciding whether to publish the three-body problem, for instance, Tor Books editor Liz Gorinsky relied on the fact that American readers are currently interested in and curious about China.“ ... Three-Body was a great book completely aside the translation story, or, failing that, that people would be specifically interested in Three-Body because we’re in a moment where Americans are very curious about China’s role in the global cultural landscape, but genuine cultural artifacts from China are still relatively thin on the ground, so this book could potentially appeal to many of those cultural tourists.” (O 'Neill 2015).
The Three-Body Problem entered the United States after a translation from the original cultural context to the new heterogeneous cultural context of cross-cultural practise. To explain this practise, we need only consider context translation activities and context translation activities. In other words, it is necessary to investigate Chinese science fiction literature in the context of how to break out of conditions and the American science fiction literary world's attitude toward the genre. This pertains to the evolution and current state of the respective science fiction literature, or the position of multivariate system science literature in the literature of China and the United States, as well as the interaction between the two, but also the status of literature translation within the target literature system. In addition, as a subgenre of literature, science fiction literature is distinctive, so it frequently forms a subsystem distinct from the larger literary system. Therefore, in comparison to the overall literary system of the nation whose language is the target, Acceptance of The Three-Body problem in foreign countries is contingent upon the status quo of the sub-system of science fiction literature in the target country and the status of science fiction literature in the literary system of the target country. Therefore, it is recommended to investigate the position of Chinese and American science fiction literature within their respective literary systems, as well as the position of translated literature within the American literary system.

Due to the interference of various parties, science fiction literature has lacked a loose and free growth environment for a long time and often fails to develop science popularisation according to its own rules. The primary objective of science fiction literature has been recognised for a very long time. During the 1950s, science fiction was also considered a subgenre of children's literature. In 1983, science fiction was viewed as “poisonous grass”, leading to the closure of all science fiction magazines besides science and art. By the turn of the century, Chinese science fiction literature had gradually regained its independence and was no longer burdened by the purpose of introduction of science to the public. As a result, a number of influential science fiction authors have emerged, including Liu Cixin, Han Song, Wang Jin Kang, etc. Besides, Chen Qiufan, Bao Shu, Xia Jia, and other young writers have made a name for themselves and emerged as a new power in the field of science fiction in China. In other words, around the turn of the century, science fiction literature regained its legal status in the Chinese literature system, which directly promoted the prosperity of science fiction literature creation, and contemporary Chinese science fiction literature presented a scene of robust development. On the other hand, many writers were desperate post their own works abroad, a communication with the world’s science fiction. City of Cats written by Lao She was translated by James E. Dew and then published in the United States in 1964. As mentioned before, The Clarkesworld Magazine has regularly published Chinese science fiction works since 2012. Before the arrival of the three-body English translation, American readers had already accepted Chinese science fiction literature to certain extent. On the other hand, as stated previously, The fate of the three bodies entering the United States and the status of science fiction in the American literature study system. Current state of the subsystem and American science fiction literature are inextricably linked. The development of science fiction literature is closely tied to the development of science and technology. Since the United States is the most advanced nation in science and technology since World War II, American science fiction creation is thriving, and American literature holds a prominent place in the system. According to Even-Zohar’s Polysystem theory, there are three major cases when translated literature occupies the primary position: (1) when a “young” literature is being established and looks initially to more established literatures for ready-made models. (2) when a literature is “peripheral” or “weak” and it imports those literary types which it is lacking. (3) when there is a critical turning point in literary history at which established models are no longer considered sufficient, or when there is a vacuum in the literature of the country. Thus, due to the shortage of its own supply, the creation of American science fiction literature is at a turning point. Although the translation of science fiction literature from other countries may not occupy the core position in the American science fiction literature system, the resistance they face when entering the system will be greatly reduced.

===The publisher and capital accumulation of the translator===
The world is focused on China's economic growth, which affords The Three-Body Problem favourable conditions to enter the United States.

In terms of the nature of its copyright trading business, China Educational Publication Import & Export Corporation acts as a literary agent. The publication of the "three-body" trilogy is operated by the export comprehensive department of China Educational Publication Import & Export Corporation. Before deciding on the topic of the translation, the corporation needs to examine and evaluate the literary value, market value and cultural transmission power of the works. To determine whether a literary work qualifies as a part of "go global" strategy, one must first examine the literary value of the book. At the same time, if you want to pursue commercial goals, the market value is also very important. In addition to, cultural communication power is the extension of value of a book, concerning the spread of social and commercial benefits, and also a deciding factor for initiators. From the above three points, under the strict standards for domestic related works screening, China Educational Publication Import & Export Corporation, finally selected and signed contracts on domestic outstanding science fiction writer's works, including the "three body" trilogy.

According to Pierre Bourdieu, there are three kinds of capitals that are often recognized as a part of the society, the Economic capital, which refers to the control one has on the economic resources available in the society (money, property, etc.) Social capital refers to the social networks that one has acquired and Cultural capital, these are the assets that one possesses which help them climb up the social ladder.

First, Tor Books, which is responsible for the publication of The Three-Body Problem in the United States, enjoys a high reputation in the American science fiction literary community, and has been named the best science fiction publishing house for 20 consecutive years. This company has published many works by Hugo Award and Nebula Award winners. The social and cultural capital accumulated by Tor Books for a long time has laid the necessary foundation for the smooth entry of The Three-Body Problem into the American market. For readers, books favored by such a publishing house are worth looking forward to. On the other hand, Tor also used its own connections to invite well-known American science fiction writers such as Kim Stanley Robinson to write book reviews for The Three-Body Problem in influential publications such as The New York Times, The Wall Street Journal, and Publishers Weekly, thus improving the Three-Body Problem’s popularity.

In addition to choosing the best works, China Educational Publication Import & Export Corporation has strict standards on translation. This model of translation has three distinct characteristics. First, select the highest level of the translator. When choosing translators, the company preferred Sinologist, than foreign translators who are proficient in Chinese and majored in related areas. Those who have studied in European or American countries, or Chinese who have a high level of English can hardly be admitted.

Translator Liu Yukun's capital accumulation is an important factor in the success of "The Three-Body Problem" in the United States. Generally speaking, the cultural capital of translators mainly includes excellent bilingual ability, full cross-cultural awareness, past translation experience and familiarity with related fields, etc. For the translation of "The Three-Body Problem", Liu Yukun has unique advantages in the above aspects.

Born in China in 1976, Liu Yukun moved to the United States at the age of 11, majoring in English literature and law at Harvard University. Currently, he works as a programmer and lawyer in Boston and writes science fiction in his spare time. He won the 2012 Hugo Award and the Nebula Award for Best Short Story for his novel The Paper Menagerie, and the 2013 Hugo Award for Best Short Story for his novel Mono no aware. In addition to science fiction creation, Liu Yukun is also a "bridge maker" of Chinese and Western science fiction literature, translating many Chinese science fiction works into English. He won the 2012 Science Fiction and Fantasy Translation Awards for his translation of "The Fish of Lijiang". As a well-known science fiction writer, Liu Yukun has undoubtedly made the English version of "The Three-Body Problem" attract more attention from overseas markets.

As a science fiction writer who has won the Hugo and Nebula Awards, Liu Yukun is the best choice for translating "The Three-Body Problem" in terms of language quality and professionalism. It has been proved true that in the purchase page of Amazon's English website "The Three-Body Problem", about half of the readers' comments on the work mentioned Liu Yukun's translation, and many readers thought that its translation is natural and fluent. It’s hard to believe that it is a translated work. The translation helped propel the series to global fame; Martin, who wrote the novels that were adapted into HBO's "Game of Thrones," praised it as "a breakthrough book" and "a worthy nominee" of the Hugo Award. (CNN)
Joel Martinsen, the translator of "The Dark Forest", although neither a Chinese nor a science fiction writer, has a solid foundation in Chinese and English. He has read a large number of science fiction works and read all Chinese science fiction works since 2000, and many of the works he mentioned have not even been read by Liu Cixin. It is this high level of translators who ensures the high quality of the translations of the Trilogy.

===Translation Strategy===

The Three-Body Problem can cross the national boundary, enter into the American literary system, and obtain authoritative comments and widespread recognition of the public, which is closely related to the American literary system and the literary capital of the translation. The status quo of American science fiction literature and the upsurge of Chinese translated literature construct the favourable social space, and give the positive impetus to this book. The cultural capital and symbolic capital of translators ensure the literary value and beliefs, effectively boosting the spread of translation in target countries. However, if a translation wants to “go global”, it has to maintain an active presence in the target country, and is universally recognized by the target readers. Thus, reads can continue reading and even have the impulse to recommend to others, which involves the translation strategy and readers' reaction to this translation strategy.

Let's take a look at the translation strategy of translator Liu Yukun. A more reliable observation for examining translation strategies is the translator's retention and change of cultural-loaded words and cultural image, because the translation of cultural-loaded words or cultural image is less subject to external interference, and mainly depends on the translator. Thus, we will take the translation of the original culturally specific items or image discourses as the object of investigation to identify the translation strategy of "The Three-Body Problem".

Before translating "The Three-Body Problem", Liu Yukun already had many years of translation experience. “ Many who advocate a translation that reads as though it were written in English in the first place subscribe to this philosophy. I disagree. For me, much of the joy of reading a translation is in hearing an echo of the original, in seeing English used in a way that suggests the rhythms and worldviews of another language.” (Ken 2013).

For example, he did not convert“惊蛰”,“大暑”,“寒露” and“冬至” into “March 5th,” “July 23rd,” “October 8th,” and “December 21st.” but translated them into “Awakening of Insects”, “Major Heat”,“Cold Dew” and“Winter Solstice”. He explained, “This choice meant that the English reader must work harder to figure out the time of year by contextual clues, but the names also give the reader a better sense of how the Chinese calendar is tied to the cycles and movements of the natural world, to the demands and rhythms of the agricultural life. I believe the decision enhances the story’s portrayal of a (seemingly) pastoral, idealized life constructed from elements of pre-modern Chinese village traditions.”( Ken 2013)
He translated “投鼠忌器” into “just like how one wouldn’t throw a shoe at a mouse sitting beside an expensive vase” instead of an English idiom “those who live in glass houses should not throw stones”. He refused to use a cliché to translate another cliché but chose an expression which shows the characteristic of source language. It can help the English reader to know something about the source culture and language.

Due to the background of the Cultural Revolution, The Three-Body Problem contains a large number of words in the period, and there is no equivalent in the translated language. Liu Yukun fully respects the differences of the original text when translating such words, and insists on being a faithful translator. Most of the cultural image in the original text has been retained.
“The obvious difficulties, such as differences in linguistic structure and cultural references, are actually relatively easy to resolve.The Three-Body Problem begins with the Cultural Revolution, and there are numerous allusions to Chinese history. I’ve tried to keep the number of explanatory footnotes to a bare minimum by, wherever possible, filling in the necessary knowledge for non-Chinese readers by the judicious addition of a few informational phrases in the text (all approved by the author).”( Ken 2014a)

Translator applied transliteration in some cultural image in Chinese without any annotation. For example, “大刀”( dadao) ,“馒头”( mantou) ,“屯”( tun) , “炕”( kang) and “旗袍”( qipao) .
Translator applied literal translation in words and phrases related to the Cultural Revolution. For instance, “知青”-“educated youth”, “大字报”-“big-character poster”, “黑五类”-“Five Black Categories” and “牛棚”-“cowshed”.
In addition, for those phrases in the original work that are already familiar to the target readers and have the so-called "equivalent items" in the translated language, Liu Yukun does not use them directly, but strives to eliminate the meaning of these words being added in cross-cultural travel, and try to restore their original appearance.

One typical example is the translation of “中山装” in Death’s End. The common translation of “中山装” is “ Mao suit” but Liu Yukun translated it into “Zhongshan suit”. He explained in the annotation“This style of Chinese tunic suit is usually known in the West as the “Mao suit.” I’ve chosen to use a literal translation of the Chinese term to avoid unintended connotations. ”

If we do some research, we will find that these kind of changes are not trival. Encyclopedia of Contemporary Chinese Culture is a book that introduces Chinese culture published by Routledge. In this book, the introduction of “Mao suit” is “The Mao suit (maozhuang) thus symbolized revolutionary tradition, militarization of society, and revolutionary asceticism. It dominated the sartorial landscape of the 1960s and reached its height in the Cultural Revolution. Subtle differences in the Mao suit differentiated the population: peasants and workers wore indigo blue Mao jackets; People’s Liberation Army soldiers donned khaki green; and Party cadres sported grey barathea—thus ensuring, paradoxically, that uniformity maintained hierarchical difference even while advocating egalitarian ideals.”( Edward 2005: 522) It can be seen that "Zhongshan Suit" is given additional associative meaning in cross-cultural travel, and the encyclopedic interpretation will allow readers to accept the excessive interpretation of "Mao suit" and cultural associations as knowledge. Liu Yukun's defamiliarization translation r will allow the target reader to stay in the literal itself, change the inherent cognition of this cultural-loaded word, and activate the target reader's re-understanding and re-association.

Liu Yukun's application of foreignization is indeed conducive to preserving the original style, but the ultimate realization of the value of the translation depends on the acceptance of target readers. The reader's reading experience is an important factor to consider to achieve this goal, which requires the translator to take into account the acceptability of the translation, and the sub-text is often an effective means to improve the acceptability of the translation (Geng Qiang 2016). The English translation of "The Three-Body Problem" is no exception: while preserving differences, Liu Yukun uses multiple languages and literary means such as supplementing sub-texts to enhance the readability of the translation.

First of all, on the title page of "The Three-Body Problem", he added a table of character relationships that were not in the original work to help readers smoothly understand the translation. In the tongue of the translated book, a guide to the content of the whole book has been added, briefly describing the background of the story and the general direction of the development of the story, so as to clarify the narrative logic of the novel. The introduction does not reveal the entire plot, but it abruptly ends with an engaging sentence. Adding annotations is Liu Yukun's main strategy for using sub-texts to enhance the readability of the translation. As mentioned earlier, there are more special expressions of the Cultural Revolution in "The Three-Body Problem", and if these expressions are omitted and not translated, the meaning and artistic effect of the work will inevitably be reduced; if it is simply translated literally, it will increase the reader's burdens to understanding. Therefore, in order to help the reader understand, the translator adds the necessary annotations to the translation.
Lei Zhicheng, one of the leaders of the "Red Bank" project in the original book, said when talking about the difficulty of finding researchers.
Example: 找到的两个合适的候选人宁肯待在五七干校也不来。(刘慈欣 2008: 82)
Translation: I did find two possible candidates，but both would rather stay at the May Seventh Cadre Schools rather than come here．( Ken 2014a: 44)
As the existence of a special era, “五七干校(the May Seventh Cadre Schools)” is undoubtedly very strange to most readers outside the country. However, in the above quotation and even in the whole work, “the May Seventh Cadre Schools” is of great significance. If omitted without translation, it will inevitably damage the original meaning; if it is simply translated without explanation, the target readers will inevitably feel confused: Why does the author want to highlight the fact that researchers are hard to find by saying that he would rather stay in the May Seventh Cadre Schools?
Therefore, in order to let the reader understand the logic, the translator chooses to add comments in addition to the literal translation: “The May Seventh Cadre Schools were labor camps during the Cultural Revolution where cadres and intellectuals were“re-educated.” ( Ken 2014a: 44) In this way, the multiple layers of meaning of the text are fully conveyed, and the reader is not trapped in a strange and confused reading experience.

Take another example of “二锅头”. Liu Yukun translated it into “er guo tou” with an annotation: “Er guo tou is a distilled liquor made from sorghum, sometimes called ‘Chinese vodka’.” Here the translator compares “er guo tou” to “vodka”, so that it produces the same rich and similar cultural meaning as vodka--a long history, cheap price, the favorite of the lower class of society, reflecting the identity of the drinker (the lower class of society) or a certain emotion (such as nostalgia, homesickness, etc.). Therefore, the reader not only removes the exotic strangeness of the "er guo tou" through the existing cognition of vodka, but also retains the heterosexuality of the "er guo tou" in the text through the form of a sub-text.

It is worth mentioning that, The Three-body Problem was first appeared as the serial publication in Science Fiction World magazine in 2006, but when it was published in 2008, the background of the cultural Revolution story, originally located in the opening chapter, was disassembled and moved to the middle part of the book. The English version is arranged in strict accordance with the sequence of the series, and the content of the Cultural Revolution, which serves as the background of the story, is explained at the beginning. This change can help readers who do not know much about Chinese history to understand. The translator's efforts to enhance the acceptability of the translation have received a good result. Amazon in the United States has more than 1400 reader comments, with a rating rate of above four stars reaching 77%, among which the rating rate of five stars is close to 60%.

In summary, the translator Liu Yukun pays attention to the preservation of the cultural image of the "Three-Body Problem", strives to convey the heterogeneity of the source language culture, and strives to paste the style of the original text. This translation method helps to better reproduce the artistic charm of the original work, so that the translation can see through the light and color of the original work; But at the same time, it also puts forward higher requirements for readers, so translators also provide readers with the necessary background knowledge with the help of sub-text means such as annotations, helping them to understand the text more fully and effectively, and controlling the heterogeneity of language within the acceptable range of mainstream poetic norms. This practice of retaining his opposite sex while taking into account readability allows the unique characteristics of the original work to be reproduced, and at a large degree, the English language bursts out of the strange power and fresh texture full of sparks, challenges and delights the readers with an imaginative impact, brings them to the distant coast and strange horizon, and embarks on a journey of Chinese science fiction.

===Conclusion===

Translation research must have a historical perspective and be carried out on the basis of full contextualization. We give full consideration to influence all aspects of the translation process and results, including all aspects of translation activities happened here context as well as the active function of translation subject In this paper, from two aspects: the text inside and outside of three body It is found that the promotion of China's international status, the vigorous development of Chinese science fiction literature and the transformation of American science fiction literature system have created a favorable context for the acceptance of the three-body problem in The United States. Famous publishing house and translator Liu Yukun played a necessary role in promoting The Three-Body Problem to enter the American science fiction literature system with their own capital.

Although literary works such as "The Three-Body Problem" have distinct and unique regional and national cultural imprints, this heterosexuality is precisely where the value and strength of Chinese literary texts themselves lie, and then through the translation and introduction of texts, humanistic feelings and aesthetic spaces that transcend historical situations and regional boundaries are formed, so that English readers can understand, appreciate and identify with the fascinating science fiction world in the original works.

===References===

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

20220630 Classics 1

2022-07-06T04:01:54Z

Li Yijia: /* 英语笔译黎溢佳 Li Yijia 202170081573 CE */

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==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

===References===
*Guo Qingguang郭庆光. (2011). ''传播学教程（第二版）''[Communication Studies Course (2nd Edition]. 北京：中国人民大学出版社Beijing: China Renmin University Press, Page 4.

*Hu Zhengrong.胡正荣.(2017).''传播学概论''[Introduction to Communication Studies]. 北京：高等教育出版社Beijing: Higher Education Press, Page 19.

*Liu Yunhong.刘云虹.(2019).''葛浩文翻译研究''[Studies on Howard Goldblatt’s Translations].南京大学出版社 Nanjing University Press, Page 76.

*Meng Xiangchun.孟祥春.(2014).葛浩文论译者——基于葛浩文讲座与访谈的批评性阐释[Howard Goldblatt on Translators--A Critical Interpretation Based on Howard Goldblatt’s Lectures and Interviews].中国翻译Chinese Translators Journal, (03): 26.

*Wang Zuoliang. 王佐良.(1989).''翻译：思考与试笔''[Thinking and Practice on Translation].北京：外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press, Page 84.

*Yin Feizhou, Li Ying.尹飞舟、李颖. (2021).翻译传播主体控制效应解析———以当代中国文学作品英译出版为例[An Analysis of the Control Effect of Translational Communication Subjects---The Case of English Translation and Publication of Contemporary Chinese Literature]. 湖南师范大学社会科学学报 Journal of Social Science of Hunan Normal University, Page 76.

*Yin Feizhou, Yu Chengfa.尹飞舟、余承法. (2020).''翻译传播学论纲''[Outline of Translation Communication Studies]. 湘潭大学学报（哲学社会科学版），Journal of Xiangtan University(Philosophy and Social Science)2020(05)：170-176.

*Yin Feihzhou, Yu Chengfa and Deng Yingling.尹飞舟、余承法、邓颖玲. (2021).''翻译传播学十讲''[Ten Chapters of Translational Communication Studies]. 长沙：湖南师范大学出版社 Changsha: Hunan Normal University Press, Page 17 and 88.

*Zhang Shengxiang.张生祥.(2013).翻译传播学:理论建构与学科空间[Translation Communication: Theoretical Constructions and Disciplinary Space]. 湛江师范学院学报 Journal of Zhanjiang Normal College, (01):116.

*Zhuang Yichuan.庄绎传.(2015).''翻译漫谈''[On Translation].北京：商务印书馆Beijing: The Commercial Press, Page 76.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

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It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

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4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
'''
6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

*Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences ''河北工业大学学报：社会科学版''.12(4):7.

*Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education ''教师教育学报''.10(005):128-132.

*Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies ''外国语文研究''.6(2):11.

*Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review ''小说评论''.(6):7.

*Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum ''北方论丛''.(4):8.

*Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments ''百家评论''.(2):8.

*Song Dan 宋丹.(2017). 铁凝作品在日本的译介与阐释[Translation and interpretation of Tie Ning's works in Japan]. Novel review ''小说评论''.(6):9.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

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

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

===References===
*Pan Jiayin潘佳音 . ''Cultural Value of Translation and its Contemporary Embodiment''翻译的文化价值及其当代体现[J]. Comparative Study of cultural Innovation文化创新比较研究,2020,4(3):110-111.
*Chen Jing陈靖. ''Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology''马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
*Liu Yang刘阳. ''On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching''威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
*Zhu Yishu祝一舒. ''On the Characteristics of Xu Yuanchong's Translation Thoughts''试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
*WXin Hongjuan辛红娟, Liu Yuanchen刘园晨. ''A Reinterpretation of Translation Meaning and Taste''金岳霖“译意”“译味”观再解读[J]. Journal of Ningbo University: Humanities宁波大学学报:人文科学版,2020,33(1):41-47.
*Xin Hongjuan辛红娟, Xu Wei徐薇. ''The Construction path of Chinese Translation Studies''中国翻译学的建构路径[N]. Guangming Daily光明日报, 2018-06-11(16)

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)
That is to say, if we want to develop cultural soft power, we must gather cultural strength internally and spread the cultural spirit externally.

===Methods===
This article mainly obtains information by investigating the literature and querying the information on the Internet, so as to comprehensively and correctly understand the theories related to the soft power of culture and the difficulties that may be encountered in Chinese classics. At the same time, the author will further analyze what she has learned and thought.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.(dangdang.com)
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. But it shows that all the translations with wide influence outside the region are mainly written by western missionaries or sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

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*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

*豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===
For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle.
Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life.
Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply.
This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

===Literature Review===
Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture.
Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

===Three Beauties Principle===
Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81）
The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions.
The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology.
Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

===Reflection of Beauty in Sense in Lin Yutang's translation ===
3.1.1 Choice of Words
In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words.
Chinese Version 1: 刺绣之暇，渐通吟咏。
English Version 1: Between her needlework, she gradually learned to write poetry.
Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text.
Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。
English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes.
The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers.
Original text 3: 秋侵人影瘦，霜染菊花肥。
English Version: Touched by autumn, one’s figure grows slender,
Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

===Reflection of Beauty in sound in Lin Yutang's translation===
In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm.
3.2.1 Rhythm
Original Text1: 清斯濯樱，浊斯濯足。
English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet.
This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme.
Original Text2: 曾经沧海难为水，除却巫山不是云。
English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed.
The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

===Reflection of Beauty in Form in Lin Yutang’s translation===
Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples.
Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？”
English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this.
Original Text2: 芸双目闪闪，听良久。
English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

===Conclusion===
From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese.
This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

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==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

[[File:hdhd jzjzj.jpg]]

===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
*Chen Daling & Xu Duo 陈大亮 & 许多.(2018).英国主流媒体对当代中国文学的评价与接受[The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media]. ''小说评论'' Novel Review(04),153-161.
*Hang Ling & Xu Jun 杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介[Different Interpretations and Acceptance of Yu Hua’s Brothers in The Context of French Culture]. ''文艺争鸣'' Literature and Art Forum (07),131-137.
*Hang Ling 杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体[Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media]. ''小说评论'' Novel Review(05),67-74.
*Ulrich Kautz 高立希.(2015).我的三十年——怎样从事中国当代小说的德译[My thirty years of translating contemporary Chinese novels and my relevant observations]. ''外语教学理论与实践'' Foreign Language Teaching | Fore Lang Teach(01),8-11+94.
*Ji Jin & Zhou Chunxia 季进 & 周春霞.(2015).中国当代文学在法国——何碧玉、安必诺教授访谈录[Contemporary Chinese Literature in France -- Interview with Professors Isabelle Rabut and Angel Pino]. ''南方文坛'' Southern Cultural Forum(06):37-43.
*Lan Bo 蓝博.(2020).中国现当代文学在西班牙的译介研究[A Study on the Translation and Introduction of Modern and Contemporary Chinese Literature in Spain]. ''对外传播'' International Communications(12),43-47.
*Li Chunyu 李春雨.(2021).《文城》：余华对“人”的又一次叩问[Wen Cheng: Yu Hua Once Again Asks about People]. ''文艺争鸣''Literature and Art Forum (12),142-147.
*Liu Jiangkai 刘江凯.(2014).当代文学诧异“风景”的美学统一:余华的海外接受[The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance].''当代作家评论'' Review of Contemporary Writers(06),134-145.
*Qian Linsen 钱林森.(2000).中西方哲学命运的历史遇合——法籍华人学者、作家程抱一访谈[A Historical Meeting of the Destinies of Chinese and Western philosophy -- Interview with Mr.Francois Cheng, French Chinese scholar, and writer]. ''文艺争鸣'' Literature and Art Forum,102-109.
*Sun Guoliang & Li Bin 孙国亮 & 李斌.(2021).余华在德国的译介与接受研究[A Study of Yu Hu’s Translation and Acceptance in Germany]. ''小说评论'' Novel Review(04),147-156.
*Wang Liqian & Qian Hang 王立倩 & 钱航.(2020).余华小说海外传播特征研究[A Study on the Overseas Dissemination Characteristics of Yu Hua's Novels]. (eds.)''2020年社会发展论坛（西安）论文集'' Proceedings of 2020 Social Development Forum (Xi 'an) 128-136.
*Wang Kna & Cai Lijuan 王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑[''Brothers'' in the French-speaking world -- French Book Review Translation miniseries]. ''文艺争鸣'' Literature and Art Forum(02),117-122.
*Wang Shouli & Zhu Qiong 王首历 & 竺琼.(2009).纷扰的《兄弟》与暧昧的余华——2007年余华研究述评[Confused Brothers and Ambiguous Yu Hua: Review on Studies on Yu Hua in 2007]. ''浙江师范大学学报(社会科学版)'' Journal of Zhejiang Normal University (Social Science Edition)(02),13-19.
*Yu Hua 余华：必须忘掉以前的小说才可能写出新的小说[必须忘掉以前的小说才可能写出新的小说]_Retrived June 6th 2022 from 中国作家网 (chinawriter.com.cn)
*Yang Ping 杨平.(2019).余华作品在欧美的传播及汉学家白亚仁的翻译目标[The Dissemination of Yu Hua's Works in the West and Allan H.Barr's Translation Goals]. ''翻译研究与教学'' Translation studies and Teaching(01),49-59.
*Baus, Wolf (2000). Yu Hua-Der Mann，der sein Blut verkaufte，in：Hefte für ostasiatische Literatur，Heft 29. München：Iudicium Verlag，S. 164

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

'''1.1The Eco-translatology Theory'''

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

'''1.1.1The Origin of Eco-translatology Theory'''

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

'''1.1.2 The Main Viewpoints of the Eco-translatology theory'''

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

'''1.2Eco-translation Method: Three-dimension Transformation'''

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

'''1.2.1Linguistic Dimension'''

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

'''1.2.2Cultural Dimension'''

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

'''1.2.3 Communicative Dimension'''

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

'''2.1 Characteristics of Mao Zedong's Poetry'''

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

'''2.1.1 Heroic Style'''

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

'''2.1.2 Abundant Allusions'''

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

'''2.2 Strategies in C-E Translation of Mao Zedong’s Poems'''

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

'''2.2.1 Domesticating Translation'''

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

'''2.2.2 Free Translation'''

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

'''3.1 Transformation at Linguistic Dimension'''

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

“Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

'''3.2 Transformation at Cultural Dimension'''

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”
夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

'''3.3 Transformation at Communicative Dimension'''

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of The Three-Body Problem abroad
===Abstract===
When it comes to China's literary in the past two years, one of the works that must be mentioned is the "The Three-Body Problem" trilogy by the famous Chinese science fiction writer Liu Cixin. In terms of its English edition alone, the first two installments of the trilogy have received widespread attention and acclaim from readers, mainstream media and professionals in the English-speaking world, especially in the United States.
This article explains the main reasons why the English translation of "The Three-Body Problem" is widely accepted in the United States from three aspects: the context of translation, the active role of the translation subject, and the translator's translation strategy. The study found that the improvement of China's international status, the vigorous development of Chinese science fiction literature, and the transformation of the American science fiction literature system have created a favorable context for the acceptance of "The Three-Body Problem" in the United States; Liu Yukun, a well-known publisher and translator, has played a necessary role in promoting the entry of "The Three-Body Problem" into the American science fiction literature system with their respective capitals; The translator Liu Yukun generally focused on retaining the original text of his opposite sex, but also took into account the readability of the translation with the help of sub-texts and other means, making the translation a practical Journey of Chinese science fiction in the United States.

===Key Words===
Key Words: The Three-Body Problem, Liu Cixin, Liu Yukun, science-fiction, Translation strategy

===Introduction===
Chinese Science fiction began in the late Qing Dynasty and the early Republic of China, which has one hundred years of history. As a product of industrial civilization, science fiction is a type of literature that is the only one never seen in traditional Chinese literature ( Han Song 2010). It means that science fiction translation is to provide nutrients for local Chinese science fiction literature but also witnessed it from sprout to development. At present, Chinese science fiction and its translation have entered a new turning point: Since 2012, The Clarkesworld Magazine, an authoritative American science fiction magazine, has regularly published Chinese science fiction works. In 2015, Liu Cixin became the first Asian writer to win the 73rd Hugo Award for Best Novel for his three-body series. In 2016, Hao Jingfang won the 74th Hugo Award for Best Short story with Folding Beijing, which shows that the translation of Chinese local science fiction has become a phenomenon worthy of attention. Existing literature shows that although many scholars in China pay attention to the translation of science fiction, it focuses on the single direction of English translations, and rarely discusses the situation of external translation.
The English version of Three-Body includes The three-body Problem, The Dark Forest, and Death s End. The Three-body Problem was published in the US on November 11, 2014, and in the UK and Australia successively in June 2015. According to statistics, by the end of June 2016, the global cumulative circulation of The Three-body problem has exceeded 160,000 copies (including hardcover books, paperback books, e-books, and audiobooks). In the sales volume of only thousands of “go global” Chinese-translated literary works, the performance of The Three-body Trilogy can undoubtedly be described as amazing.
It is difficult to reveal the multiple motivations and variables influencing the fate of translation from the perspective of language text alone. After all, the cross-cultural communication of a literary work is a complex activity, and the production, dissemination and acceptance of translation are restricted by various factors inside and outside the text The specific context in which translation takes place is an important basis for interpretation of translation activities, the dynamic role of translation subject is an important factor affecting the fate of translation in the target country, and the appropriate translation strategy is an important condition to ensure the smooth acceptance of translation If can, therefore, is to focus on the translation of internal at the same time, taking into full consideration the context of translation activity occurs, and the main translation subject role, can help us more reliable conclusions In view of this, this article will examine the translation context of three-body the active role of translation subjects and the translation strategies of the translator, as much as possible in order to comprehensively and objectively Three-body. The main reason why English translation is actively accepted in the United States will be further analyzed.

===Literature Review===
Liu Cixin is one of the representative writers of Chinese science fiction. After "The Three-Body Problem" won the Hugo Award, science fiction received huge attention in China for a while. However, the number of domestic academics for him is relatively small, and the translation of his works is also quite limited. Among them, Chen Fangrong of Zhejiang Normal University believes that "the successful acceptance of the Three-Body Problem in the United States will have an important role in promoting the translation of genre literature." From the perspective of reader evaluation, it is pointed out that the strategies and methods that Chinese literature can adopt in the process of translation and introduction. (Chen Fangrong, 2017) Gu Yiqing of Shanghai University of Foreign Chinese believes that "many parties take the initiative to introduce all aspects of translation so that translation works can enter the market-oriented operation process and effectively expand communication channels; The literary and ideological nature of the work itself, which fully has cross-cultural universal value, constitutes the fundamental motivation for successful translation. (Gu Yiqing, 2017) While foreign research on Chinese science fiction and the Three-Body Problem is blank, relevant papers are difficult to find.

===The Context===
Translation activities are always conducted in a particular space-time context, and non-contextualized interpretations cannot explain why translation activities take place. The only way to arrive at a logical interpretation is by situating the translation activity within the specific context in which it occurs and by recognising the context's complexity in its entirety. There are broad and specific context categories, namely the three-body body. From a macro perspective, China has made remarkable advancements in multiple fields over the past several decades. The world is curious about the current situation in China. Exploring a variety of subjects and genres of Chinese literature abroad is enhanced by reading literary works. It has become an essential tool for constructing China's image abroad. When deciding whether to publish the three-body problem, for instance, Tor Books editor Liz Gorinsky relied on the fact that American readers are currently interested in and curious about China.“ ... Three-Body was a great book completely aside the translation story, or, failing that, that people would be specifically interested in Three-Body because we’re in a moment where Americans are very curious about China’s role in the global cultural landscape, but genuine cultural artifacts from China are still relatively thin on the ground, so this book could potentially appeal to many of those cultural tourists.” (O 'Neill 2015).
The Three-Body Problem entered the United States after a translation from the original cultural context to the new heterogeneous cultural context of cross-cultural practise. To explain this practise, we need only consider context translation activities and context translation activities. In other words, it is necessary to investigate Chinese science fiction literature in the context of how to break out of conditions and the American science fiction literary world's attitude toward the genre. This pertains to the evolution and current state of the respective science fiction literature, or the position of multivariate system science literature in the literature of China and the United States, as well as the interaction between the two, but also the status of literature translation within the target literature system. In addition, as a subgenre of literature, science fiction literature is distinctive, so it frequently forms a subsystem distinct from the larger literary system. Therefore, in comparison to the overall literary system of the nation whose language is the target, Acceptance of The Three-Body problem in foreign countries is contingent upon the status quo of the sub-system of science fiction literature in the target country and the status of science fiction literature in the literary system of the target country. Therefore, it is recommended to investigate the position of Chinese and American science fiction literature within their respective literary systems, as well as the position of translated literature within the American literary system.

Due to the interference of various parties, science fiction literature has lacked a loose and free growth environment for a long time and often fails to develop science popularisation according to its own rules. The primary objective of science fiction literature has been recognised for a very long time. During the 1950s, science fiction was also considered a subgenre of children's literature. In 1983, science fiction was viewed as “poisonous grass”, leading to the closure of all science fiction magazines besides science and art. By the turn of the century, Chinese science fiction literature had gradually regained its independence and was no longer burdened by the purpose of introduction of science to the public. As a result, a number of influential science fiction authors have emerged, including Liu Cixin, Han Song, Wang Jin Kang, etc. Besides, Chen Qiufan, Bao Shu, Xia Jia, and other young writers have made a name for themselves and emerged as a new power in the field of science fiction in China. In other words, around the turn of the century, science fiction literature regained its legal status in the Chinese literature system, which directly promoted the prosperity of science fiction literature creation, and contemporary Chinese science fiction literature presented a scene of robust development. On the other hand, many writers were desperate post their own works abroad, a communication with the world’s science fiction. City of Cats written by Lao She was translated by James E. Dew and then published in the United States in 1964. As mentioned before, The Clarkesworld Magazine has regularly published Chinese science fiction works since 2012. Before the arrival of the three-body English translation, American readers had already accepted Chinese science fiction literature to certain extent. On the other hand, as stated previously, The fate of the three bodies entering the United States and the status of science fiction in the American literature study system. Current state of the subsystem and American science fiction literature are inextricably linked. The development of science fiction literature is closely tied to the development of science and technology. Since the United States is the most advanced nation in science and technology since World War II, American science fiction creation is thriving, and American literature holds a prominent place in the system. According to Even-Zohar’s Polysystem theory, there are three major cases when translated literature occupies the primary position: (1) when a “young” literature is being established and looks initially to more established literatures for ready-made models. (2) when a literature is “peripheral” or “weak” and it imports those literary types which it is lacking. (3) when there is a critical turning point in literary history at which established models are no longer considered sufficient, or when there is a vacuum in the literature of the country. Thus, due to the shortage of its own supply, the creation of American science fiction literature is at a turning point. Although the translation of science fiction literature from other countries may not occupy the core position in the American science fiction literature system, the resistance they face when entering the system will be greatly reduced.

===The publisher and capital accumulation of the translator===
The world is focused on China's economic growth, which affords The Three-Body Problem favourable conditions to enter the United States.

In terms of the nature of its copyright trading business, China Educational Publication Import & Export Corporation acts as a literary agent. The publication of the "three-body" trilogy is operated by the export comprehensive department of China Educational Publication Import & Export Corporation. Before deciding on the topic of the translation, the corporation needs to examine and evaluate the literary value, market value and cultural transmission power of the works. To determine whether a literary work qualifies as a part of "go global" strategy, one must first examine the literary value of the book. At the same time, if you want to pursue commercial goals, the market value is also very important. In addition to, cultural communication power is the extension of value of a book, concerning the spread of social and commercial benefits, and also a deciding factor for initiators. From the above three points, under the strict standards for domestic related works screening, China Educational Publication Import & Export Corporation, finally selected and signed contracts on domestic outstanding science fiction writer's works, including the "three body" trilogy.

According to Pierre Bourdieu, there are three kinds of capitals that are often recognized as a part of the society, the Economic capital, which refers to the control one has on the economic resources available in the society (money, property, etc.) Social capital refers to the social networks that one has acquired and Cultural capital, these are the assets that one possesses which help them climb up the social ladder.

First, Tor Books, which is responsible for the publication of The Three-Body Problem in the United States, enjoys a high reputation in the American science fiction literary community, and has been named the best science fiction publishing house for 20 consecutive years. This company has published many works by Hugo Award and Nebula Award winners. The social and cultural capital accumulated by Tor Books for a long time has laid the necessary foundation for the smooth entry of The Three-Body Problem into the American market. For readers, books favored by such a publishing house are worth looking forward to. On the other hand, Tor also used its own connections to invite well-known American science fiction writers such as Kim Stanley Robinson to write book reviews for The Three-Body Problem in influential publications such as The New York Times, The Wall Street Journal, and Publishers Weekly, thus improving the Three-Body Problem’s popularity.

In addition to choosing the best works, China Educational Publication Import & Export Corporation has strict standards on translation. This model of translation has three distinct characteristics. First, select the highest level of the translator. When choosing translators, the company preferred Sinologist, than foreign translators who are proficient in Chinese and majored in related areas. Those who have studied in European or American countries, or Chinese who have a high level of English can hardly be admitted.

Translator Liu Yukun's capital accumulation is an important factor in the success of "The Three-Body Problem" in the United States. Generally speaking, the cultural capital of translators mainly includes excellent bilingual ability, full cross-cultural awareness, past translation experience and familiarity with related fields, etc. For the translation of "The Three-Body Problem", Liu Yukun has unique advantages in the above aspects.

Born in China in 1976, Liu Yukun moved to the United States at the age of 11, majoring in English literature and law at Harvard University. Currently he works as a programmer and lawyer in Boston, and writes science fiction in his spare time. He won the 2012 Hugo Award and the Nebula Award for Best Short Story for his novel The Paper Menagerie, and the 2013 Hugo Award for Best Short Story for his novel Mono no aware. In addition to science fiction creation, Liu Yukun is also a "bridgemaker" of Chinese and Western science fiction literature, translating many Chinese science fiction works into English. He won the 2012 Science Fiction and Fantasy Translation Awards for his translation of "The Fish of Lijiang". As a well-known science fiction writer, Liu Yukun has undoubtedly made the English version of "The Three-Body Problem" attract more attention from overseas markets.

As a science fiction writer who has won the Hugo and Nebula Awards, Liu Yukun is the best choice for translating "The Three-Body Problem" in terms of language quality and professionalism. It has been proved true that in the purchase page of Amazon's English website "The Three-Body Problem", about half of the readers' comments on the work mentioned Liu Yukun's translation, and many readers thought that its translation is natural and fluent. It’s hard to believe that it is a translated work. The translation helped propel the series to global fame; Martin, who wrote the novels that were adapted into HBO's "Game of Thrones," praised it as "a breakthrough book" and "a worthy nominee" of the Hugo Award. (CNN)
Joel Martinsen, the translator of "The Dark Forest", although neither Chinese nor science fiction writer, has a solid foundation in Chinese and English. He has read a large number of science fiction works and read all Chinese science fiction works since 2000, and many of the works he mentioned have not even been read by Liu Cixin. It is this high level of translators who ensures the high quality of the translations of the Trilogy.

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

20220630 Classics 1

2022-07-04T12:01:50Z

Li Yijia: /* 英语笔译黎溢佳 Li Yijia 202170081573 CE */

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==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

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*Yin Feihzhou, Yu Chengfa and Deng Yingling.尹飞舟、余承法、邓颖玲. (2021).''翻译传播学十讲''[Ten Chapters of Translational Communication Studies]. 长沙：湖南师范大学出版社 Changsha: Hunan Normal University Press, Page 17 and 88.

*Zhang Shengxiang.张生祥.(2013).翻译传播学:理论建构与学科空间[Translation Communication: Theoretical Constructions and Disciplinary Space]. 湛江师范学院学报 Journal of Zhanjiang Normal College, (01):116.

*Zhuang Yichuan.庄绎传.(2015).''翻译漫谈''[On Translation].北京：商务印书馆Beijing: The Commercial Press, Page 76.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

[[File:Chart.png]]

It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

[[File:Stage Photo.jpg]]

4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
'''
6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

*Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences ''河北工业大学学报：社会科学版''.12(4):7.

*Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education ''教师教育学报''.10(005):128-132.

*Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies ''外国语文研究''.6(2):11.

*Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review ''小说评论''.(6):7.

*Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum ''北方论丛''.(4):8.

*Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments ''百家评论''.(2):8.

*Song Dan 宋丹.(2017). 铁凝作品在日本的译介与阐释[Translation and interpretation of Tie Ning's works in Japan]. Novel review ''小说评论''.(6):9.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

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

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

===References===
*Pan Jiayin潘佳音 . ''Cultural Value of Translation and its Contemporary Embodiment''翻译的文化价值及其当代体现[J]. Comparative Study of cultural Innovation文化创新比较研究,2020,4(3):110-111.
*Chen Jing陈靖. ''Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology''马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
*Liu Yang刘阳. ''On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching''威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
*Zhu Yishu祝一舒. ''On the Characteristics of Xu Yuanchong's Translation Thoughts''试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
*WXin Hongjuan辛红娟, Liu Yuanchen刘园晨. ''A Reinterpretation of Translation Meaning and Taste''金岳霖“译意”“译味”观再解读[J]. Journal of Ningbo University: Humanities宁波大学学报:人文科学版,2020,33(1):41-47.
*Xin Hongjuan辛红娟, Xu Wei徐薇. ''The Construction path of Chinese Translation Studies''中国翻译学的建构路径[N]. Guangming Daily光明日报, 2018-06-11(16)

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)

===Methods===
From the definition of cultural soft power, this paper qualitatively analyzes the internal and external difficulties encountered by Chinese cultural classics and Further discusses the reasons behind. Finally the paper tries to find some corresponding solutions from the author's own perspective.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. Taking the Chinese-English version of The Great China Library as an example, literature accounts for 50% of the 110 classic books, followed by philosophy 19.1%, technology 13.6%, history 9.1% and military 8.2%. Second, the main composition of the translation is not reasonable. Besides,It shows that all the translations with wide influence outside the region are mainly written by western missionaries or Sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some Domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

*豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===
For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle.
Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life.
Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply.
This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

===Literature Review===
Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture.
Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

===Three Beauties Principle===
Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81）
The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions.
The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology.
Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

===Reflection of Beauty in Sense in Lin Yutang's translation ===
3.1.1 Choice of Words
In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words.
Chinese Version 1: 刺绣之暇，渐通吟咏。
English Version 1: Between her needlework, she gradually learned to write poetry.
Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text.
Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。
English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes.
The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers.
Original text 3: 秋侵人影瘦，霜染菊花肥。
English Version: Touched by autumn, one’s figure grows slender,
Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

===Reflection of Beauty in sound in Lin Yutang's translation===
In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm.
3.2.1 Rhythm
Original Text1: 清斯濯樱，浊斯濯足。
English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet.
This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme.
Original Text2: 曾经沧海难为水，除却巫山不是云。
English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed.
The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

===Reflection of Beauty in Form in Lin Yutang’s translation===
Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples.
Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？”
English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this.
Original Text2: 芸双目闪闪，听良久。
English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

===Conclusion===
From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese.
This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

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==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

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===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
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*Hang Ling 杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体[Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media]. ''小说评论'' Novel Review(05),67-74.
*Ulrich Kautz 高立希.(2015).我的三十年——怎样从事中国当代小说的德译[My thirty years of translating contemporary Chinese novels and my relevant observations]. ''外语教学理论与实践'' Foreign Language Teaching | Fore Lang Teach(01),8-11+94.
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*Lan Bo 蓝博.(2020).中国现当代文学在西班牙的译介研究[A Study on the Translation and Introduction of Modern and Contemporary Chinese Literature in Spain]. ''对外传播'' International Communications(12),43-47.
*Li Chunyu 李春雨.(2021).《文城》：余华对“人”的又一次叩问[Wen Cheng: Yu Hua Once Again Asks about People]. ''文艺争鸣''Literature and Art Forum (12),142-147.
*Liu Jiangkai 刘江凯.(2014).当代文学诧异“风景”的美学统一:余华的海外接受[The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance].''当代作家评论'' Review of Contemporary Writers(06),134-145.
*Qian Linsen 钱林森.(2000).中西方哲学命运的历史遇合——法籍华人学者、作家程抱一访谈[A Historical Meeting of the Destinies of Chinese and Western philosophy -- Interview with Mr.Francois Cheng, French Chinese scholar, and writer]. ''文艺争鸣'' Literature and Art Forum,102-109.
*Sun Guoliang & Li Bin 孙国亮 & 李斌.(2021).余华在德国的译介与接受研究[A Study of Yu Hu’s Translation and Acceptance in Germany]. ''小说评论'' Novel Review(04),147-156.
*Wang Liqian & Qian Hang 王立倩 & 钱航.(2020).余华小说海外传播特征研究[A Study on the Overseas Dissemination Characteristics of Yu Hua's Novels]. (eds.)''2020年社会发展论坛（西安）论文集'' Proceedings of 2020 Social Development Forum (Xi 'an) 128-136.
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*Yu Hua 余华：必须忘掉以前的小说才可能写出新的小说[必须忘掉以前的小说才可能写出新的小说]_Retrived June 6th 2022 from 中国作家网 (chinawriter.com.cn)
*Yang Ping 杨平.(2019).余华作品在欧美的传播及汉学家白亚仁的翻译目标[The Dissemination of Yu Hua's Works in the West and Allan H.Barr's Translation Goals]. ''翻译研究与教学'' Translation studies and Teaching(01),49-59.
*Baus, Wolf (2000). Yu Hua-Der Mann，der sein Blut verkaufte，in：Hefte für ostasiatische Literatur，Heft 29. München：Iudicium Verlag，S. 164

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

'''1.1The Eco-translatology Theory'''

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

'''1.1.1The Origin of Eco-translatology Theory'''

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

'''1.1.2 The Main Viewpoints of the Eco-translatology theory'''

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

'''1.2Eco-translation Method: Three-dimension Transformation'''

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

'''1.2.1Linguistic Dimension'''

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

'''1.2.2Cultural Dimension'''

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

'''1.2.3 Communicative Dimension'''

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

'''2.1 Characteristics of Mao Zedong's Poetry'''

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

'''2.1.1 Heroic Style'''

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

'''2.1.2 Abundant Allusions'''

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

'''2.2 Strategies in C-E Translation of Mao Zedong’s Poems'''

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

'''2.2.1 Domesticating Translation'''

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

'''2.2.2 Free Translation'''

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

'''3.1 Transformation at Linguistic Dimension'''

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

“Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

'''3.2 Transformation at Cultural Dimension'''

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”
夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

'''3.3 Transformation at Communicative Dimension'''

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of The Three-Body Problem abroad
===Abstract===
When it comes to China's literature in the past two years, one of the works that must be mentioned is the "The Three-Body Problem" trilogy by the famous Chinese science fiction writer Liu Cixin. In terms of its English edition alone, the first two installments of the trilogy have received widespread attention and acclaim from readers, mainstream media, and professionals in the English-speaking world, especially in the United States.
This article explains the main reasons why the English translation of "The Three-Body Problem" is widely accepted in the United States from three aspects: the context of translation, the active role of the translation subject, and the translator's translation strategy. The study found that the improvement of China's international status, the vigorous development of Chinese science fiction literature, and the transformation of the American science fiction literature system have created a favorable context for the acceptance of "Three-Body" in the United States; Liu Yukun, a well-known publisher and translator, has played a necessary role in promoting the entry of "The Three-Body Problem" into the American science fiction literature system with their respective capitals; The translator Liu Yukun generally focused on retaining the original text of his opposite sex, but also took into account the readability of the translation with the help of sub-texts and other means, translating a practical journey of Chinese science fiction in the United States.

===Key Words===
Key Words: The Three-Body Problem, Liu Cixin, Liu Yukun, science-fiction, Translation strategy

===Introduction===
Chinese Science fiction began in the late Qing Dynasty and the early Republic of China, which has one hundred years of history. As a product of industrial civilization, science fiction is a type of literature that is the only one never seen in traditional Chinese literature ( Han Song 2010). It means that science fiction translation is to provide nutrients for local Chinese science fiction literature but also witnessed it from sprout to development. At present, Chinese science fiction and its translation have entered a new turning point: Since 2012, The Clarkesworld Magazine, an authoritative American science fiction magazine, has regularly published Chinese science fiction works. In 2015, Liu Cixin became the first Asian writer to win the 73rd Hugo Award for Best Novel for his three-body series. In 2016, Hao Jingfang won the 74th Hugo Award for Best Short story with Folding Beijing, which shows that the translation of Chinese local science fiction has become a phenomenon worthy of attention. Existing literature shows that although many scholars in China pay attention to the translation of science fiction, it focuses on the single direction of English translations, and rarely discusses the situation of external translation.
The English version of Three-Body includes The three-body Problem, The Dark Forest, and Death s End. The Three-body Problem was published in the US on November 11, 2014, and in the UK and Australia successively in June 2015. According to statistics, by the end of June 2016, the global cumulative circulation of The Three-body problem has exceeded 160,000 copies (including hardcover books, paperback books, e-books, and audiobooks). In the sales volume of only thousands of “go global” Chinese-translated literary works, the performance of The Three-body Trilogy can undoubtedly be described as amazing.
It is difficult to reveal the multiple motivations and variables influencing the fate of translation from the perspective of language text alone. After all, the cross-cultural communication of a literary work is a complex activity, and the production, dissemination and acceptance of translation are restricted by various factors inside and outside the text The specific context in which translation takes place is an important basis for interpretation of translation activities, the dynamic role of translation subject is an important factor affecting the fate of translation in the target country, and the appropriate translation strategy is an important condition to ensure the smooth acceptance of translation If can, therefore, is to focus on the translation of internal at the same time, taking into full consideration the context of translation activity occurs, and the main translation subject role, can help us more reliable conclusions In view of this, this article will examine the translation context of three-body the active role of translation subjects and the translation strategies of the translator, as much as possible in order to comprehensively and objectively Three-body. The main reason why English translation is actively accepted in the United States will be further analyzed.

===Literature Review===

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu